Parinda

Parinda is a mind blowing film about the underworld. In fact, Parinda is not only about the underworld. It's also about the human emotions and conflicts that rule their lives.

The story revolves around Kishan (Jackie Shroff) who takes to the path of crime in order to support his younger brother Karan (Anil Kapoor). Kishan works for Anna (Nana Patekar) who rules the underworld with an iron fist. He is a pure devil who has no regrets or remorse in killing people and whoever dares to cross his path will only meet with one fate- death. Things take a turn for the worse when Karan learns about Kishan's illegal activities and about his involvement with Anna. Karan proves a real threat to Anna and Anna is hell bent on eliminating Karan who dared to challenge him. However, Anna is also torn between Kishan and Karan as Kishan is his most loyal protégé. How Kishan tries to thwart Anna's plans and what happens to Karan and his ladylove Paro (Madhuri Dixit) forms the crux of the story.

Parinda is a brilliantly made film. Vidhu Vinod Chopra succeeds in keeping us hooked with the dramatics and what goes on in the underworld. Chopra definitely knows that people don't like movies made on the crime world. So, he perfectly balances both the underworld scenes and the emotional scenes. The dialogues are praiseworthy. No preaching or overused lines. In fact, this film is the most real picture of the underworld. In a nutshell, Parinda is a masterpiece.

In a film like this, performances have to be first-rate in order to captivate the audience's attention. Nana Patekar takes the cake here as he gives a brilliant performance as the hardheaded, merciless underworld leader. Nana gives the correct nuances of a don and his coldness is displayed with brilliance by Vidhu Vinod Chopra. Jackie Shroff gives his career-best performance after Hero. He is very likable in the emotional scenes and his turmoil in trying to keep his brother away from his crime life is well etched by him. Anil Kapoor is good in a smaller role. In a film dominated by men, only an actress like Madhuri Dixit can hold her own. She is immensely likable in all her scenes with Anil Kapoor and her scenes more than provide a relief to the viewer after some heavy scenes in the film. Anupam Kher is okay in a shorter role. Suresh Oberoi is good.

There are only four songs in this movie and they are neatly placed. Neither do they hinder the progression of the story.

Overall, Parinda is a must watch for those who love realistic cinema. It's a breath of fresh air from the usual 80s Bollywood masala films.

Vidhu Vinod Chopra's Parinda is one of the first Hindi films dealing with life in the Mumbai underworld and one of the most realistic of its kind. Stylishly presented, the film is excellently directed and is aided by fantastic cinematography, great editing, beautiful music and natural acting. As opposed to most of the Hindi movies of that time, the story of Parinda is devoid of clichés, and the screenplay as well as the dialogues are well written. There are neither the typical courageous action heroes nor the exaggerated fantasy action sequences one gets to see so much in Hindi films, though at some points you do feel its loyalty to the general Hindi film style (that's called commercial pressure). Chopra portrays the relationship between the two brothers authentically, as he does with practically every other relationship in the film.

The narrative is very focused and taut, letting the director create the required mood for a gripping drama of its sort. The film's emotional impact is thus strong, though it does get a bit too slow and dark at places. The acting is for the most part excellent. This is one of Jackie Shroff's finest performances, powerful and heartfelt, strong and restrained. Nana Patekar plays the psychologically disturbed fire-phobic Anna with intensity and conviction, portraying every negative shade of his character in his well-known inimitable style. Madhuri Dixit is lovely in a role that is not very substantial. However, Anil Kapoor is just okay and his often childish and overly naive on-screen persona gets on your nerves from time to time. His character's transformation was also too quick to be believable. This is of course not entirely his fault.

Which brings me to the next point. Parinda, though compelling and innovative for its time, is not without its flaws. While RD Burman's music is stupendous as always and managed to relieve the film's raw tension, as it was done with the soulful and memorable "Tum Se Mil Ke", the other melodious songs seemed inappropriate in such a dark thriller and often distracted from the seriousness of the situation. The marriage song, for one, was completely redundant. Additionally, some of the scenes towards the end were quite implausible and went a bit over-the-top, though I really liked the film's final scene, which was overwhelming. Overall, Parinda is an enjoyable and impressive gangster movie known today as a favourite cult movie among lovers of Indian cinema. It's easy to see why. It was different and entertaining, but its intentions were stronger than its actual quality.

Late 70s and 80s were a time when alternate or parallel cinema entered the Hindi film industry. Shyam Benegal, Saeed Akhtar Mirza, Govind Nihalani, Mahesh Bhatt gave soul to some heart-wrenching narrative and created a cinema which was a long-call from the rosy, sanitized feature bollywood movies. Instead what we saw was dirt within the society, issues like Labour rights, Dowry deaths, Prostitution, Communal violence were dealt with openly and our favorite protagonists had to wrestle not against the stereotypical Bollywood Evil Banker or Industrialist but against the 'system' itself.

In this time period came along Vidhu Vinod Chopra with two feature movies, 'Sazaye Maut' (1981) and 'Khamosh'(1986). Made without a star-cast to speak of, the movies did not find many takers and despite being a brilliant start to his career they remained largely forgotten, till the internet era introduced them to a larger audience. The experience of making these movies perhaps led to some of the decisions which were reflected in Parinda. This movie which can be called as Realism's Gateway to Bollywood is a weird mix, feeling like a brilliant art-movie at times and a decent Bollywood feature at others. There are sequences of Anil Kapoor-Madhuri Dixit which are filled with rosy, romantic scenarios, while there are scenes between the two brothers or the ones featuring the impeccable Nana Patekar as Anna, which are filled with grim realism usually not present in the other features of the era. Take the plot for example, Prakash's death at the start to Brothers' fate towards the end are not your usual run-of-the mill scenarios in a Bollywood feature of the time. Besides having seen Jackie-Anil in Ram-Lakhan, Karma etc. I was expecting a movie where the heroes eventually trump all odds and win the day in the end.

It all was too unexpected for me until it dawned that this movie could be called the first place where Vidhu Vinod Chopra started using his own formula of movie-making which show-cased so well in Munnabhai MBBS, 3 Idiots etc.

We can only guess as to whether the failure of his brilliant Khamosh was the reason behind this approach, but this allowed him to tell his audience otherwise complicated stories in a crisp manner, where songs and some lighthearted sequences keep the story moving on forward, while he tells a tale dealing with issues in the Indian education system (Munnabhai 1, 3 Idiots) or the need for Gandhi's values in today's society. (Munnabhai 2) Here he does the same in a gangster saga of two brothers, where an otherwise decent tale is given both the formulaic Bollywood approach to keep the mainstream audience engrossed, while the gritty sequences dealing with Gang-violence, Anna's troubles and the rift between brothers provide a deeper understanding to the movie.

Madhuri Dixit and Anil Kapoor were brilliant as usual while Jackie Shroff also provides a good support. But it is Nana Patekar's madness which lifts the movie to another level. His genius is scenes during a 'Shraad' scene, where he loses it after seeing fire being lighted. There are also other undercurrents visible within the movie, such as fate of turncoats, Musa's eventual victory over Anna due to his habit of making friends out of enemies. The music in the movie was done well with songs of the movie going on to become some of the popular songs of 90s.

Of the hundreds of films made on the Indian underworld this film, along with Ram Gopal Varma's Satya, is one of the most gripping and powerful. Nana Patekar (who won a national award for this film) and Jackie Shroff are brilliant. Madhuri Dixit and Anil Kapoor excel in their small roles. The editing is also great...something that puts it in a league of its own. The film has none of the commen Hindi masala film aspects...I can only remember 2 songs!!!

Parinda has always been my favorite because it was one of the first movies to break the stereotypical formula-based film making trend in India that relied heavily on larger-than-life heroes (and villains) and impossible fight sequences that defied both gravity and logic. Parinda was a breath of fresh air amid all this chaos. It showed the Mumbai(Bombay) underworld as it had never been shown before. The movie begins with a superb background score reminiscent of The Terminator theme. As one listens to the sombre yet striking music with visuals/shots of Mumbai high rises under a grey evening sky, one realizes it's going to be a dark and no-nonsense film. And who can forget Kishen's (Jackie Shroff's) entry as he walks up that huge tank to meet rival gang-leader Moosa? I always wished the scene was a little longer. If Tom Alter did full justice to the role of Moosa, the role of Anna seemed to have been written for (and only for)the immensely talented Nana Patekar. The cinematography of the film leaves all other films of its time way behind (with the exception of 'Raakh', another dark and gritty film released around the same time). Jackie Shroff's acting is simply fabulous, whereas Anil Kapoor is, well, loud as usual! I wish he had shaved off his mustache to fit the role of the younger brother better. Suresh Oberoi as the goon gives a superlative performance - one of the best in his career. In short, Parinda marks the beginning of realistic mainstream cinema in India. Indian art-house cinema had always been realistic, but mainstream commercial cinema used to be just escapist fares until Parinda happened.