| 1 | '''Krantiveer''' |
| 2 | |
| 3 | |
| 4 | 1994 159’ col/scope Hindi |
| 5 | d/p Mehul Kumar pc Mehul Movies |
| 6 | s K.K. Singh lyr Sameer c Russi Bilimoria |
| 7 | m Anand Milind |
| 8 | lp Nana Patekar, Dimple Kapadia, Atul |
| 9 | Agnihotri, Mamta Kulkarni, Paresh Rawal, |
| 10 | Tinnu Anand, Danny Denzongpa, Farida Jalal |
| 11 | Local Maharashtrian ‘anti-hero’ Patekar |
| 12 | expands his vigilante image (cf. Ankush, 1985; |
| 13 | Prahaar, 1992) into his first big-budget, solo |
| 14 | star vehicle. He plays Pratap, the wayward |
| 15 | grandson of a Gandhian nationalist. Evicted |
| 16 | from his house for dishonesty, which caused |
| 17 | the death of his grandfather, he grows up and |
| 18 | collects rent for a slum-owner (Rawal), |
| 19 | maintaining a fervent contempt for legality and |
| 20 | a belief in the basic rightness of taking the law |
| 21 | into one’s own hands, an ideology repeatedly |
| 22 | endorsed in the film. From this perspective he |
| 23 | takes on the might of the corrupt builder Yograj |
| 24 | (Anand) and the gang boss Cheetah |
| 25 | (Denzongpa). In the end, sentenced to death, |
| 26 | he delivers, directly to camera, a spine-chilling |
| 27 | harangue ostensibly in favour of communal |
| 28 | harmony, but in fact directly invoking the |
| 29 | language associated with the Shiv Sena leader |
| 30 | Bal Thackeray (cf. Anand Patwardhan’s |
| 31 | Father, Son and Holy War, 1994). The film uses |
| 32 | the fearless journalist Megha Dixit (Kapadia), |
| 33 | raped in the film by Cheetah, to reinforce its |
| 34 | basic message that Pratap’s lumpen-brutalism, |
| 35 | directly connected with Shiv Sena gangsterism, |
| 36 | is the legitimate inheritor of the nationalist |
| 37 | freedom struggle. It also continues director |
| 38 | Mehul Kumar’s previous odes to macho |
| 39 | posturing (Tiranga, 1992). The song Love rap, |
| 40 | picturised on romantic lead Agnihotri and |
| 41 | Kulkarni, assisted the film’s ominous success. |
| 42 | |
| 43 | [[Film]] |