In
the
1990s,
rape,
violence,
power,
crime,
fraud
and
abuse
--
issues
that
concern
us
daily,
nationally
as
well
as
internationally,
were
being
depicted
on
the
Hindi
screen
with
unfailing
regularity.
Films
that
raised
a
voice
and
raised
an
issue
faded
into
oblivion
because
a
different
genre
[comedy]
gradually
took
over.
The
issues
concerning
the
common
man
remained
dormant
on
the
Hindi
screen.
But
Rajkumar
Santoshi
raises
one
pertinent
issue
with
Halla
Bol.
A
lot
has
been
said
and
written
about
the
film
bearing
an
uncanny
resemblance
to
the
Jessica
Lal
murder
case.
Does
Halla
Bol
attempt
to
recreate
the
ghastly
incident
on
celluloid?
More
on
that
later!
What's
noteworthy
is
that
Santoshi
succeeds
in
stirring
and
pricking
your
conscience.
The
accomplished
storyteller,
who
started
off
with
a
bang
with
Ghayal,
Damini
and
Ghatak,
films
that
raised
a
voice
and
issues,
lost
his
touch
in
between,
although
he
appealed
greatly
in
The
Legend
Of
Bhagat
Singh
in
the
intervening
period.
With
Halla
Bol,
Santoshi
is
back
with
what
he's
best
at
--
hard-hitting
drama.
Halla
Bol
is
atypical
Santoshi
product,
which
re-opens
wounds,
is
raw
and
hard-hitting
and
has
life-like
situations,
with
a
savior
who
pricks
your
conscience.
Frankly,
Halla
Bol
is,
without
an
iota
of
doubt,
a
film
that
reflects
the
current
times.
You
can
easily
draw
parallels
with
real
life.
Of
course,
there're
cinematic
liberties;
it's
not
a
dry
film.
In
short,
we've
had
enough
of
meetha
[comedies]
since
the
past
few
weeks,
it's
time
to
have
something
teekha
[hard-hitting
drama]
for
a
change.
Halla
Bol
leaves
that
kind
of
an
impact!
Ashfaque
[Ajay
Devgan]
is
a
small-town
boy
aspiring
to
be
a
film
star
in
the
Hindi
film
industry.
He
joins
a
street
theatre
group
run
by
a
reformed
dacoit
Sidhu
[Pankaj
Kapur],
who
uses
street
theatre
as
a
medium
to
bring
about
an
awakening
in
the
masses.
Ashfaque's
determined
struggle
pays
off
and
he
gets
a
break
in
films.
He
gets
a
new
screen
name
--
Sameer
Khan.
With
the
passage
of
time,
the
roles
start
becoming
better
and
he
moves
up
the
success
ladder
in
a
very
short
time.
Soon,
he
becomes
Sameer
Khan
the
superstar
--
one
who
can
enact
any
role
with
finesse,
get
under
the
skin
of
any
and
every
character
with
ease
and
walk
away
with
audience
applause.
Sadly,
amidst
all
adulation
and
applause,
he
slowly
loses
his
own
identity.
He
forgets
his
real
self
and
imbibes
all
characteristics
of
the
various
roles
essayed
by
him
on
screen.
Corruption
takes
over
his
entire
system,
alienating
him
from
all
loved
ones,
including
his
wife
Sneha
[Vidya
Balan].
A
shocking
incident
at
a
party
changes
everything,
rocking
Sameer's
lifestyle.
He
gets
caught
between
his
human
self
on
one
side
and
his
corrupted
superstar
image
on
the
other.
Rajkumar
Santoshi
interweaves
a
lot
of
plots
in
those
2
+
hours.
It
tells
you
about
the
degenerating
of
a
small-town
person
who
gets
swayed
by
money
and
power
as
he
grows
big
in
stature.
It
tells
you
about
the
games
the
rich
and
powerful
play.
It
tells
you
that
corruption
has
become
a
part
of
our
everyday
life.
It
tells
you
that
a
lone
voice
[raised
against
injustice]
can
multiply
into
millions
gradually.
It
tells
you
that
all's
not
lost,
that
honesty,
integrity
and
courage
still
have
an
upper
hand.
What
starts
off
as
a
movie
about
a
self-obsessed
star
changes
tracks
within
20
minutes
of
the
start,
when
the
rich,
spoilt
brats
shoot
a
young
girl
at
a
well-attended
party
and
everyone
stands
there
as
mute
spectators.
The
sequence
is
simply
hair-raising!
The
gradual
change
in
Ajay's
attitude
is
also
well
built
and
the
film
actually
gathers
momentum
at
the
intermission
point
when
Ajay
decides
to
testify
against
the
culprits.
But
the
story
actually
takes
off
after
the
intermission
when
Ajay,
aided
by
Pankaj
Kapur,
wages
a
war
against
the
unscrupulous
elements.
The
sequence
at
the
minister's
palatial
residence,
when
Ajay
urinates
on
the
carpet,
is
an
outstanding,
clapworthy
sequence.
The
viewers
would
go
in
a
frenzy
at
this
sequence!
Note
another
scene:
The
media
persons
are
grilling
Ajay
if
his
wife
has
walked
out
on
him
and
Vidya
shoots
back,
giving
the
media
a
fitting
reply.
Note
yet
another
sequence:
The
corrupt
minister's
sidekick
[Abhay
Bhargava]
trying
to
bribe
Pankaj
Kapur
and
Pankaj's
reply.
And
here's
another
gem:
Pankaj
Kapur's
lengthy
outburst
when
Ajay
lies
in
the
hospital.
Brilliant
sequences
all,
which
bear
the
stamp
of
a
genius!
However,
the
film
can
do
with
some
trimming
in
the
second
hour.
A
few
sequences
can
be
trimmed
for
a
much
stronger
impact.
Also,
the
climax
could've
been
more
powerful.
Santoshi
is
in
form
after
a
gap.
The
film
brings
back
memories
of
Santoshi's
earlier
works.
Sukhwinder's
music
is
okay.
'Na
Guzre
Huwe
Pal'
is
a
wonderful
track,
while
the
cry
of
war,
the
title
track,
enthuses
you.
Cinematography
[N.
Nataraja
Subramaniam]
is
perfect.
Dialogues
[Santoshi,
Ranjit
Kapoor]
are
raw,
but
appealing.
In
fact,
there
are
a
number
of
clap-trap
lines
in
the
enterprise.
Every
performance
in
Halla
Bol
stays
etched
in
your
memory.
Ajay
proves
yet
again
that
he's
a
magnificent
actor.
He
conveys
a
lot
through
his
expressions.
Here's
yet
another
award-worthy
performance
from
one
of
the
finest
actors
of
the
country.
Vidya's
role
may
not
be
as
substantial
as
Ajay
and
Pankaj
Kapur,
but
she's
fiery
in
the
sequences.
Pankaj
is
awesome
yet
again.
A
power-packed
performance.
In
fact,
he's
to
Halla
Bol
what
Sunny
Deol
was
to
Damini.
Darshan
Jariwala
is
superb,
changing
expressions
like
a
chameleon.
Anjan
Srivastava
manages
to
create
an
impact.
Abhay
Bhargava
is
efficient.
The
actress
enacting
the
role
of
the
victim's
sister
is
very
good.
The
film
has
a
host
of
stars
making
appearances,
which
include
Tusshar
Kapoor,
Jackie
Shroff,
Sridevi
and
Boney
Kapoor,
Kareena
Kapoor,
Neeraj
Vora
and
Aarti
Chhabria.
On
the
whole,
Halla
Bol
is
a
powerful
film
that
has
its
heart
in
the
right
place.
At
the
box-office,
Halla
Bol
has
the
power
to
grow
with
a
strong
word
of
mouth.