77 reviews
The one truly great Hindi film of the 1990s
I am not a big fan of Hindi films - infact I'm not a fan of commercial Hindi films at all. But then there's Satya, Ram Gopal Varma's classic 1998 Indian mafia fan is brilliant, innovative and despite certain directorial flaws is nonetheless so vastly different from the run of the mill Hindi films (ie. 99% of Hindi films) that it is unforgettable. It is 175 minutes long, the typical duration, but it grabs you instantaneously as you follow the journey of Satya who comes to Mumbai to make a life for himself.
Before getting into a long winded review, I shall just point out a few plusses and minuses of this great movie. The minuses are minor and are nothing compared to the mishaps in a normal hindi film.
Plusses: - Manoj Bajpai, Manoj Bajpai and lastly, Manoj Bajpai. This is probably the single best acting performance by an Indian in the 90s. The realism and flawlessness he brings to the role is amazing. He does to go a bit over the top, but without losing any of his characters identity (hell, Pacino has been doing it for years now). - The rest of the cast. Urmila is incredibly refreshing as the innocent girl next door with the usual handicapped Dad and perennially miserable Mom. Saurabh Shukla as Kalu Mama is brilliant and comes quite close to Bajpai performance-wise. The realism he brings is equally breathtaking. Just seeing the scene where he, Bajpai and Govind Namdeo (Bhau) literally makes you a member of the gang, standing there and smiling along with them. - The plot is largely excellent. - (see weakness #2) Golimaar and Sapne Me are hilarious musical numbers
Now for two minor flaws: - Ram Gopal Varma's directorial synchronization of music and plot is often out of sync. A classic example is during the scene after the gangland shootout (when Kalumama first sees Vidya and Satya). There are certain other flaws as well in his direction as well. - Barring numbers from classic Hindi films (known for their music), I have never been even a remote fan of Hindi film singing and dancing. I feel three out of five songs in this movie are totally unnecessary and I would've enjoyed an "all-out" realistic film for a change w/o any songs. Having said that, the film is all the more memorable due to the two main numbers: Goli Maar and Sapne me milti hai - mainly due to Bhiku's gang and their histrionics.
All in all a refreshing Hindi film that made me a part of the main gang for the three hour duration and left me wanting more. I hope this inspires a revival of GOOD hindi films as was in the late 70s and early 80s.
Before getting into a long winded review, I shall just point out a few plusses and minuses of this great movie. The minuses are minor and are nothing compared to the mishaps in a normal hindi film.
Plusses: - Manoj Bajpai, Manoj Bajpai and lastly, Manoj Bajpai. This is probably the single best acting performance by an Indian in the 90s. The realism and flawlessness he brings to the role is amazing. He does to go a bit over the top, but without losing any of his characters identity (hell, Pacino has been doing it for years now). - The rest of the cast. Urmila is incredibly refreshing as the innocent girl next door with the usual handicapped Dad and perennially miserable Mom. Saurabh Shukla as Kalu Mama is brilliant and comes quite close to Bajpai performance-wise. The realism he brings is equally breathtaking. Just seeing the scene where he, Bajpai and Govind Namdeo (Bhau) literally makes you a member of the gang, standing there and smiling along with them. - The plot is largely excellent. - (see weakness #2) Golimaar and Sapne Me are hilarious musical numbers
Now for two minor flaws: - Ram Gopal Varma's directorial synchronization of music and plot is often out of sync. A classic example is during the scene after the gangland shootout (when Kalumama first sees Vidya and Satya). There are certain other flaws as well in his direction as well. - Barring numbers from classic Hindi films (known for their music), I have never been even a remote fan of Hindi film singing and dancing. I feel three out of five songs in this movie are totally unnecessary and I would've enjoyed an "all-out" realistic film for a change w/o any songs. Having said that, the film is all the more memorable due to the two main numbers: Goli Maar and Sapne me milti hai - mainly due to Bhiku's gang and their histrionics.
All in all a refreshing Hindi film that made me a part of the main gang for the three hour duration and left me wanting more. I hope this inspires a revival of GOOD hindi films as was in the late 70s and early 80s.
A piece of art by the master
Satya is a realistic drama which tells the story of its title character, a simple orphaned guy who tries to live life honestly and make a fair living, but is unable to. Only when he enters the underworld, the most dangerous and seemingly dreadful place, does he find financial success, friendship and love. But when he tries to run away and return to his previous simple world, he finds out that all doors are closed for him. Satya is a film that brings very distinct points to its subject matter in comparison to previous films dealing with similar themes. The film is not about underworld. It's about a guy who finds himself trapped in the world of mafia. It's about the pluses and minuses of being involved in such a terrible world. The film is very authentic, and everything in it, from cinematography to music, contributes to this style almost perfectly. The characters are all simple and easy to relate to, they all have dreams of a better life. The story of each character is presented through the eyes of Satya in a minute and unique way.
Satya has been blamed for depicting Mumbai as a dirty city of crime, terror and violence. Ram Gopal Varma has also been accused of trying to glorify the mafia. But this view is according to me incorrect; the film clearly shows that anyone who enters this world will end up living under constant threat for his life and eventually find himself killed in the most dire of circumstances. The success, the friendship, the love the film's hero finds, all of it is lost in one unfortunate chain of tragic incidents: the death of his friends, the rejection of his girlfriend, and ultimately his own defeat. That's the result and that's what Varma probably tried to convey. Obviously the hero is portrayed as a good human being and you feel for his ill-fate, but that's to be expected. It's of course partly his own fault, but it's mainly a situation created by circumstances.
The acting is terrific. The most sincere performance is that of Manoj Bajpai, who is simply outstanding. He paid attention to both the dark and the bright sides of his character. Urmila Matondkar sheds her well-known image and transforms into a simple dreamy girl in this film. She lets go of her sex appeal and intensity and skillfully creates a sensitive young woman who believes that a better life does exist. An out-and-out excellent performance. Shefali Shah has an extremely small role with little importance. Yet, she is flawless in every possible scene and makes the best of what she is given, which is commendable. The only actor who is not as emotionally convincing is ironically the main protagonist, played by J.D Chakravarthy. He is average in everything he does and was not really a great choice for the part. Satya, while not a film that works for everyone, is an extraordinary film and one of the greatest from its genre. A must-watch.
Satya has been blamed for depicting Mumbai as a dirty city of crime, terror and violence. Ram Gopal Varma has also been accused of trying to glorify the mafia. But this view is according to me incorrect; the film clearly shows that anyone who enters this world will end up living under constant threat for his life and eventually find himself killed in the most dire of circumstances. The success, the friendship, the love the film's hero finds, all of it is lost in one unfortunate chain of tragic incidents: the death of his friends, the rejection of his girlfriend, and ultimately his own defeat. That's the result and that's what Varma probably tried to convey. Obviously the hero is portrayed as a good human being and you feel for his ill-fate, but that's to be expected. It's of course partly his own fault, but it's mainly a situation created by circumstances.
The acting is terrific. The most sincere performance is that of Manoj Bajpai, who is simply outstanding. He paid attention to both the dark and the bright sides of his character. Urmila Matondkar sheds her well-known image and transforms into a simple dreamy girl in this film. She lets go of her sex appeal and intensity and skillfully creates a sensitive young woman who believes that a better life does exist. An out-and-out excellent performance. Shefali Shah has an extremely small role with little importance. Yet, she is flawless in every possible scene and makes the best of what she is given, which is commendable. The only actor who is not as emotionally convincing is ironically the main protagonist, played by J.D Chakravarthy. He is average in everything he does and was not really a great choice for the part. Satya, while not a film that works for everyone, is an extraordinary film and one of the greatest from its genre. A must-watch.
- Peter_Young
- Jun 26, 2009
- Permalink
Realistic
Such was the power of this movie that people in the movie house were actually jeering when the occasional song came around(even the mandatory "rain song"). A sight very uncommon in Indian cinemas!!
The movie scored highly over the others in it's genre mainly because of its realistic portrayal of incidents like shooting, fighting etc, without being overly dramatic.
Ironically, the name of the movie is derived from it's principal character Satya, but the real hero of the movie is Bhiku Matre, played by the IMMENSELY talented Manoj Bajpai. The character Satya is just the central hinge around which the movie rotates.
The violent scenes in the movie are shot in a typical Hollywood style, and it's just shoot at sight everywhere.
Just when you start to get the feeling that it is IN to go around with a rod in your pocket, the morality lesson takes over and the gun-slingers eventually meet their end.
The movie scored highly over the others in it's genre mainly because of its realistic portrayal of incidents like shooting, fighting etc, without being overly dramatic.
Ironically, the name of the movie is derived from it's principal character Satya, but the real hero of the movie is Bhiku Matre, played by the IMMENSELY talented Manoj Bajpai. The character Satya is just the central hinge around which the movie rotates.
The violent scenes in the movie are shot in a typical Hollywood style, and it's just shoot at sight everywhere.
Just when you start to get the feeling that it is IN to go around with a rod in your pocket, the morality lesson takes over and the gun-slingers eventually meet their end.
In my books Satya along with Sholay jointly hold the position for the best Hindi movie ever made.
Ramgopal Varma's hard hitting film on the Bombay Underworld. This movie is a classic from scene one to the climax. When you see this movie you will see history in the making. A hard hitting story of a person from nowhere , Satya. How he joins the underworld gang led by bhiku mhatre. This movie gives one message hard 'CRIME NEVER PAYS'.The scene where chander(snehal dabi) tells a joke, the scene where bhiku mhatre satya vidya and pyaari go for a dinner, the scene where yedda scares the music director romu sagar, the theatre scene, the climax, all these scenes will go down in the history of Indian cinema as classic scenes. Urmila Matondkar as Satya's Girlfriend and Shefali Chaaya as bhiku mhatre's wife are excellent. J.D.Chakravarthi is brilliant as Satya. Manoj Bajpai gives an excellent and award winning performance as bhiku mhatre.He has managed to make the character of bhiku mhatre an immortal one like late amjad khan did for gabbar singh. Govind Namdeo is brilliant as Bhau. Co-script writer saurabh shukla is superb as kallu mama.It is so nice to see that first time writers saurabh shukla & anurag kashyap wrote such a brilliant script. A special mention must be made of the best cameo since rajesh khanna's cameo in andaz, by paresh raawal as commissioner of police.Satya was supposed to be made as a songless film but co-producer Bharat Shah felt that no distributor will buy the film and it will be too tense. Music director Vishal Bharadwaj and lyricist Gulzar were roped in to provide the music for this film and they did a brilliant work. The song 'Sapne Main milti hai' and 'kallu mamma' are too good. This is one of the very few brilliant movies of the 90's.
CRIME NEVER PAYS
Ramgopal Varma's hard hitting film on the Bombay Underworld. This movie is a classic from scene one to the climax. When you see this movie you will see history in the making. A hard hitting story of a person from nowhere , Satya. How he joins the underworld gang led by bhiku mhatre. This movie gives one message hard "CRIME NEVER PAYS".The scene where chander(snehal dabi) tells a joke, the scene where bhiku mhatre satya vidya and pyaari go for a dinner, the scene where yedda scares the music director romu sagar, the theatre scene, the climax, all these scenes will go down in the history of indian cinema as classic scenes. Urmila Matondkar as Satya's Girlfriend and Shefali Chaaya as bhiku mhatre's wife are excellent. J.D.Chakravarthi is brilliant as Satya. Manoj Bajpai gives an excellent and award winning performance as bhiku mhatre.He has managed to make the character of bhiku mhatre an immortal one like late amjad khan did for gabbar singh. Govind Namdeo is brilliant as Bhau. Co-script writer saurabh shukla is superb as kallu mama.It is so nice to see that first time writers saurabh shukla & anurag kashyap wrote such a brilliant script. A special mention must be made of the best cameo since rajesh khanna's cameo in andaz, by paresh raawal as commissioner of police.Satya was supposed to be made as a songless film but co-producer Bharat Shah felt that no distributor will buy the film and it will be too tense. Music director Vishal Bharadwaj and lyricist Gulzar were roped in to provide the music for this film and they did a brilliant work. The song "Sapne Main milti hai" and "kallu mamma" are too good. This is one of the very few brilliant movies of the 90's.
One of the most intelligent movies ever made about gangsters
SATYA stands out from the normal Bollywood romance fair, being a rather dark and gritty look at the crime underworld of Mumbai. The movie follows the fortunes of a guy called Satya (lit: "Truth") in the underworld, and the subtle script explores the theme with a lot of depth.
Satya himself is a wonderful character, one of my favourite screen characters ever in fact. Part of this is due to his fantastic beard, but the depth and humanity his character and the performance of J.D.Chakravarti have contribute a lot too.
The script and direction of SATYA show a sharpness that cuts to the core of its subject matter in a way that the song and dance routines of the blockbuster movies from any country do. The 3 hour running time allows it to develop and nurture its themes very thoroughly. The result is one of the most palpably intelligent movies ever made about gangsters.
This is no romanticised "cool of the killer" type movie, it's a pretty honest and thought provoking look at a lifestyle that hopefully nobody reading this has direct involvement with.
Strong recommendation to see!
Satya himself is a wonderful character, one of my favourite screen characters ever in fact. Part of this is due to his fantastic beard, but the depth and humanity his character and the performance of J.D.Chakravarti have contribute a lot too.
The script and direction of SATYA show a sharpness that cuts to the core of its subject matter in a way that the song and dance routines of the blockbuster movies from any country do. The 3 hour running time allows it to develop and nurture its themes very thoroughly. The result is one of the most palpably intelligent movies ever made about gangsters.
This is no romanticised "cool of the killer" type movie, it's a pretty honest and thought provoking look at a lifestyle that hopefully nobody reading this has direct involvement with.
Strong recommendation to see!
- simon_booth
- May 12, 2002
- Permalink
one of the best indian gangster movies.
this film is easily one of the greatest indian gangster films.this film along with "parinda" are great examples of the indian film noir/gangster genre. it has good performances from the entire cast with MANOJ BAJPAI'S performance being the best. another great aspect of the film is the amazing background score by SANDEEP CHOWTA. DONT MISS THIS FILM.*****[out of 5]
Without a doubt, the best Indian film ever made.
- advaitkamat
- Sep 20, 2012
- Permalink
Rivals and outdoes "The Godfather"
I've been newly introduced to Indian film, so I'm no expert. But clearly it is more than just Bollywood. Viewing "Satya," after previously seeing another film by Ram Gopal Varma, "Company," I would have to say that Varma is one of the greatest filmmakers now working. With these two movies that are deft, unsentimental, and at the same time not hard-boiled, he seems to add something unique to the gangster genre: the emotionally rounded portrait of the gangster, the gangster inside-out.
Unlike American gangster movies of the 30s, which "Satya" and "Company" remind me of somewhat, Varma's movies are more philosophically ambitious and do something more difficult: they manage to be moral without moralizing. And differently than Coppola's "Godfather" trilogy, where people seem born into a life of crime, Varma shows them becoming criminals and the results of the choices they've made.
I should also say, from the point of view of entertainment, Varma's films are riveting and earn every second of their "Bollywood" length. They do not have unnecessary "filler." Even the de riguer musical numbers "work" and have arrangements and choreography you could imagine on a hip New York stage.
If it hasn't already happened, Varma is ready to be discovered by the festival circuit. I myself am ordering everything I can find by him on DVD and can't wait to check out his other work. Films like "Satya" and "Company" are surely not a fluke.
Unlike American gangster movies of the 30s, which "Satya" and "Company" remind me of somewhat, Varma's movies are more philosophically ambitious and do something more difficult: they manage to be moral without moralizing. And differently than Coppola's "Godfather" trilogy, where people seem born into a life of crime, Varma shows them becoming criminals and the results of the choices they've made.
I should also say, from the point of view of entertainment, Varma's films are riveting and earn every second of their "Bollywood" length. They do not have unnecessary "filler." Even the de riguer musical numbers "work" and have arrangements and choreography you could imagine on a hip New York stage.
If it hasn't already happened, Varma is ready to be discovered by the festival circuit. I myself am ordering everything I can find by him on DVD and can't wait to check out his other work. Films like "Satya" and "Company" are surely not a fluke.
- alsacecypr
- Jul 11, 2004
- Permalink
One of the greatest films in the history of Indian Cinema.
You Cannot watch Satya once.
The film is a work of genius and is a pure art.
I have seen this film so many times that now I have forgotten the counting.
Even if you begin watching Satya midway, you can't stop yourself from watching the entire film.
The film made by now defunct Ram Gopal Verma and written by Genius Saurabh Shukla and a new entrant, Anurag Kashyap was not shot in a typical film manner.
It was shot literally without a complete draft and most of the actors just improvised their roles.
A film becomes a good film when every character in the film is a memorable one.
Satya has that quality. There is not a single character in the entire film which won't leave you mesmerized by their performance in the film.
Even the actors with smaller roles leave an impact on you.
Satya is a story of a man named Satya, hence the movie name, who is new to Bombay and is looking for a job.
He is a man of few words and wouldn't tolerate anything wrong happening to him.
He is angry all the time and rarely smiles.
The character of Satya was inspired from the protagonist, Howard Roark of the Ayn Rand Novel "The fountainhead".
Kashyap was highly inspired by the novel gave the idea to Verma about introducing a character like Roark in the by lanes of Mumbai Crime world.
The film is so well connected and well made that at times you forget that you are watching a movie and feel that you are actually inside the the crime world.
You relate with characters and feel like you know them personally.
The characters of Bhiku Mahatre and his wife pyari are so well written that despite them fighting all the time, you fall in love with them.
The film is about power, betrayal, love, revenge, friendship and all under the background of Mumbai Crime world.
It was a silent hit at that time as there were no major stars in the film so no one was even expecting that but word of mouth soon caught up and people flocked to see this film.
The lead actor J.D. Chakravarthy was a side villain in Verma's first film Shiva and played his role to the perfection in the film.
I still can't see him any other role and feel that he was not an actor but Satya himself.
You cannot miss this film at any cost.
The film is a work of genius and is a pure art.
I have seen this film so many times that now I have forgotten the counting.
Even if you begin watching Satya midway, you can't stop yourself from watching the entire film.
The film made by now defunct Ram Gopal Verma and written by Genius Saurabh Shukla and a new entrant, Anurag Kashyap was not shot in a typical film manner.
It was shot literally without a complete draft and most of the actors just improvised their roles.
A film becomes a good film when every character in the film is a memorable one.
Satya has that quality. There is not a single character in the entire film which won't leave you mesmerized by their performance in the film.
Even the actors with smaller roles leave an impact on you.
Satya is a story of a man named Satya, hence the movie name, who is new to Bombay and is looking for a job.
He is a man of few words and wouldn't tolerate anything wrong happening to him.
He is angry all the time and rarely smiles.
The character of Satya was inspired from the protagonist, Howard Roark of the Ayn Rand Novel "The fountainhead".
Kashyap was highly inspired by the novel gave the idea to Verma about introducing a character like Roark in the by lanes of Mumbai Crime world.
The film is so well connected and well made that at times you forget that you are watching a movie and feel that you are actually inside the the crime world.
You relate with characters and feel like you know them personally.
The characters of Bhiku Mahatre and his wife pyari are so well written that despite them fighting all the time, you fall in love with them.
The film is about power, betrayal, love, revenge, friendship and all under the background of Mumbai Crime world.
It was a silent hit at that time as there were no major stars in the film so no one was even expecting that but word of mouth soon caught up and people flocked to see this film.
The lead actor J.D. Chakravarthy was a side villain in Verma's first film Shiva and played his role to the perfection in the film.
I still can't see him any other role and feel that he was not an actor but Satya himself.
You cannot miss this film at any cost.
- ShitizSays
- Jul 6, 2019
- Permalink
good
There is a film about Mumbai criminals, which is not new. satya When you go to see the border movie. The theater scene is nice .
Is sometimes boring movie,
sometime very good.
finally good movie.
- baldaniyajanak
- Mar 23, 2020
- Permalink
They don't make movies any better.
Stark, dark, natural and comical, this film has innumerable scenes which will remain etched in the back of your mind. Varma is a genius, Urmila's got tons of untapped potential and Bajpai is the best since Amitabh.
- bollycritic
- Jun 17, 2000
- Permalink
Jijamata Park
- morrison-dylan-fan
- May 19, 2012
- Permalink
A big disappointing 8 rating score
It's surprising to see this film obtained a more than 8 rating in IMDb. Aspects like the script ,dubbing , technicalities , dialogue delivery nothing is impressive . In those days it appears that, quality for rating a Hindi film was different . The audience taste to appreciate any movie was even sub optimal. To me performance by the leading actor was like a psycho emotion less which doesn't even fit the character . Acting by few negative and characters in supporting roles were like hyper acting . In nut shell if you plan to watch this movie after going through a feedback rating , like I did , it may turn out to be big disappointment. In those days (late 90s) quality of Hindi movies were very different than today .
- krish-sarkar
- Oct 13, 2021
- Permalink
Arguably the best Indian movie ever
After being a fan of English movies for some time, there are not many Hindi movies that one would REALLY appreciate. And if one does, this movie would be the first one. It would be almost impossible for Varma to come out with a movie as good as this once again. This movie is fundoo (aka EXCELLENT) from acting, direction, music point of view. Hats off to Varma. Keep up being different.
- Mushtaq_Ahmd
- Jan 18, 2003
- Permalink
Best Crime Movie in Indian Cinema History
Now folks .... This is the best crime movie ever made in Indian Cinema. The film is so mature, so aggressive. Ram Gopal Verma is a real matured, brainy director. Besides that, credit also goes to the writing duo Anurag & Saurabh shukla. The writing, screenplay, background music, editing, cinematography are just amazing. And above all .... Manoj Bajpai comes as a storm !!!!!! He has literally lived the life of Bhiku. Stunning performance. Saute to this great actor. Mumbai(formarly Bombay) is the centre of most of the underworld activities. And this city remains on top in such crimes for obvious reason ---- the money. Being the financial hub of Indian subcontinent, this city em-brasses the biggest names in underworld. Many characters in this movie are based on real-life persons. For example Inspector Khandilkar. This guy is encounter specialist. This character is based on one famous ACP in Mumbai Police. And then bhiku, his wife, DCP, bhau thakur etc. all these are closely similar to real people. As a Bombayite, I have been hearing & reading about these people since childhood. This is a story of a newcomer in underworld, his progress in the criminal world, his brains, his awesome decisions at crisis times, his fellow criminals, his rivals/friends, his race against time, and finally his downfall. The story moves so well. Its like all is happening in ur neighborhood. and so well picturized. I can tell at least 25 scenes which are one of the best-shot-scenes of all time...like for example the theatre scene, or death of guru, or death of bhiku, Satya's first ever crime, police encounter sequence, murder of DCP and so on & on & on. There are so many unforgatable scenes. I have seen this movie 13 times. And will keep on watching again & again. Its a sheer joy. Highly recommended. 10/10. Ram Gopal Verma is a genius !
- nikhilerande
- Mar 11, 2008
- Permalink
Hiiiiii
It only reminds me one dialogue " Mumbai ka king koun...Bhiku Matre..."..from this movie onwards Manoj vajapyee is one of my favourite actor.
- pawankardar
- Jun 22, 2018
- Permalink
Chutia!!
Not your typical Bollywood film where two brothers are separated at birth, with one becoming a cop and another a criminal. In fact, it's quite realistic. I haven't seen that many Indian crime films, but from what I've seen this one is the best. Sure, it's depressing and violent. Sure, the characters are ruthless and without any real honor, but that's how the world of crime is.
The Indian mob seems to be going through the same phase as the American Mafia did in the 1950s and 60s, with everyone struggling for more power. Until the law enforcement there becomes immune to things like bribery and corruption, however, this will continue. This movie shows it from both sides quite well.
It also features some of the strongest language I've ever heard in an Indian flick. The title of my comment should give some indication...
The Indian mob seems to be going through the same phase as the American Mafia did in the 1950s and 60s, with everyone struggling for more power. Until the law enforcement there becomes immune to things like bribery and corruption, however, this will continue. This movie shows it from both sides quite well.
It also features some of the strongest language I've ever heard in an Indian flick. The title of my comment should give some indication...
- Irish-Sunglasses
- Feb 27, 2001
- Permalink
Understandably Rated Amongst the Greatest; Must Watch
Satya is a master class in filmmaking. From the beginning to the end, the movie is raw and gripping. Despite the weighty subject matter, it never comes close to evincing the melodrama that is common in Indian movies today. So many of RGV's choices stand out as unique even today; the scenes where no BGM plays, the "documentary style" shots of Mumbai that add to the content of the story, and the intentionally mysterious Satya character. I particularly enjoyed how naturally the love arc between Satya and Vidya is created (as well as the action of both actors in these bits), the realistic informalism with which Bhiku Mhatre's gang is shown to operate (along with M. Bajpayee's outstanding action), and the music throughout the film.
The strengths of this film are well known but I'll state them one more time. The screenplay is incredibly natural and well structured. For example, the scenes where the new commissioner character is introduced and the background is given on him flow well along with the more specific narrative of Satya's rise in Mhatre's gang. The dark, quiet, almost chilling cinematography sets the tone of the movie, which is to be taken seriously. The music + background music is of course an all time great. I'm glad RGV was forced to have music in the film. Perhaps the most fun part is recognizing all the great current actors and assistants who got their break with this movie (Bajpayee, Kashyap, Sushant Singh, and so many others.
The strengths of this film are well known but I'll state them one more time. The screenplay is incredibly natural and well structured. For example, the scenes where the new commissioner character is introduced and the background is given on him flow well along with the more specific narrative of Satya's rise in Mhatre's gang. The dark, quiet, almost chilling cinematography sets the tone of the movie, which is to be taken seriously. The music + background music is of course an all time great. I'm glad RGV was forced to have music in the film. Perhaps the most fun part is recognizing all the great current actors and assistants who got their break with this movie (Bajpayee, Kashyap, Sushant Singh, and so many others.
- vrachakonda
- Jul 5, 2020
- Permalink
A must watch to just see how far we have come as a society in the past 2 decades
Satya is the epitome of gangster films in India, and I sincerely believe that is a huge responsibility to undertake, when Bollywood really struggles to justify the genre, and realistic films in general.
The characters and the emotions that they display are so raw and realistic that it gets scary for us to assume what happens next, and it's really a treat to understand a logical perspective over all the happenings by Satya. Manoj Bajpayee and JD have literally taken their roles to the next level, along with Saurabh Shukla and Shefali shah.
Now, in the end, to think that this was the situation in Mumbai for quite some years in the late 20th century is really scary again. This was what used to happen for real, people were dying for no reason and Police infrastructure was really tasted just gives the real context to all the events, including the completion of the cycle where gangsters die just for some moments of luxury and freedom. The probabilities in such a profession are stacked against you, and that is shown beautifully.
All in all, it was a lesson, it was everything good cinema is meant to be. And it should rank with Gangs of Wasseypur as the best gangster flick in India.
The characters and the emotions that they display are so raw and realistic that it gets scary for us to assume what happens next, and it's really a treat to understand a logical perspective over all the happenings by Satya. Manoj Bajpayee and JD have literally taken their roles to the next level, along with Saurabh Shukla and Shefali shah.
Now, in the end, to think that this was the situation in Mumbai for quite some years in the late 20th century is really scary again. This was what used to happen for real, people were dying for no reason and Police infrastructure was really tasted just gives the real context to all the events, including the completion of the cycle where gangsters die just for some moments of luxury and freedom. The probabilities in such a profession are stacked against you, and that is shown beautifully.
All in all, it was a lesson, it was everything good cinema is meant to be. And it should rank with Gangs of Wasseypur as the best gangster flick in India.
- amitjodha99
- Apr 20, 2020
- Permalink
Underworld Exposure
Speechless !
I don't want to say much. Just few
Brilliant taking
Apt Locations
Awakening Screenplay
Outstanding climax.
One of the most memorable underworld films
- silvan-desouza
- Feb 8, 2014
- Permalink
Wish I could give 20
No words can express the brilliance. Awesome performance and script
Feels like it's happening right in front of you in real life and not movie.
So many unknown actors but what a performance they have put together.
So many unknown actors but what a performance they have put together.
- dipankarsharma-26654
- Jul 31, 2022
- Permalink
"Satya" amplifies underworld ferocity to rationalize state sponsored extra-judicial violence
This is a well made movie which comes with an agenda. The agenda is on the surface to frighten the youth from joining the underworld; but if you go deeper it becomes somewhat obvious that the movie aims at rationalizing state-sponsored violence without getting into the roots of the power-crime nexus. When the conscientious wife of the Police Commissioner Amod Shukla asks her husband about the veracity of extra-judicial killings by police force as reported in the television, the answer is that police doesn't kill for fun. The pro-state-violence public emotion is further bolstered by the consequent death of the Commissioner at his doorsteps. To confuse the viewers, the movie shows human rights groups as the saviour of the underworld.
After the jail fight between Bhiku Mhatre and Satya, the former tells Satya - you don't know me because you don't read newspapers. I found this dialogue quite realistic when I saw the movie for the first time. But now as I see Ramgopal Verma coming up with movies like "D", I understand it was a tricky comment. Ramu himself glorifies the underworld dons to rationalize police action, if he is really making this movie independently without any financing from the state-international nexus which wants to treat the common man as a boiling frog. Boiling frog syndrome explains the political concept of incrementalism, using an example of placing a frog in a pot of hot water the frog will jump out of the pot but if you place the frog in a pot of cool water and slowly increase the heat the frog will slowly cook to death. Using incrementalism, human populations are gradually conditioned to accept steady but slow encroachment on personal liberties until there is no liberty.
Films like "Satya" are made to rationalize this kind of gradual encroachment of personal liberties. It is aimed at the intelligent youth who can use their judgement to denounce state-sponsored violence. In the 21st century, Indian democracy needs to be matured enough to question if extra-judicial killings is a necessary evil or a short cut for those more equal than others to deal with entropy and rule the roost.
After the jail fight between Bhiku Mhatre and Satya, the former tells Satya - you don't know me because you don't read newspapers. I found this dialogue quite realistic when I saw the movie for the first time. But now as I see Ramgopal Verma coming up with movies like "D", I understand it was a tricky comment. Ramu himself glorifies the underworld dons to rationalize police action, if he is really making this movie independently without any financing from the state-international nexus which wants to treat the common man as a boiling frog. Boiling frog syndrome explains the political concept of incrementalism, using an example of placing a frog in a pot of hot water the frog will jump out of the pot but if you place the frog in a pot of cool water and slowly increase the heat the frog will slowly cook to death. Using incrementalism, human populations are gradually conditioned to accept steady but slow encroachment on personal liberties until there is no liberty.
Films like "Satya" are made to rationalize this kind of gradual encroachment of personal liberties. It is aimed at the intelligent youth who can use their judgement to denounce state-sponsored violence. In the 21st century, Indian democracy needs to be matured enough to question if extra-judicial killings is a necessary evil or a short cut for those more equal than others to deal with entropy and rule the roost.
Classic underworld movie
Here is a movie that would go a classic as far as indian films go. A true rendition of the underworld saga of "Mumbai". Mumbai ka king kaun-Manoj Bajpai. A brilliant performance. Also, a masterpiece background score by Sandeep Chowta. One movie that could have given a good run for money to any of it's hollywood peers.Of course, if cinema knew no language:-)
- anubhavhanjura
- May 9, 2000
- Permalink