There is a fun episode in the book ‘Maximam City’ by Sukhtap Mehta’s popular book ‘. This is the time of shooting of ‘Mission Kashmir’.
“In the production office of Vidhu Vinod Chopra director of the film, one day there comes a call that ‘Abu Salem remembers him.’ By not calling a return call till the evening, it is threatened by calling again that ‘he will be sent away’. It’s a time of horror for the film industry in Mumbai. ”
“The underworld has been attacked recently on his friend Manmohan Shetty, Rokesh Roshan was shot dead, Gulshan Kumar’s day-to-day murder did not go away too much, the scared Vinod Chopra would call every well wisher and the country’s Home Minister LK They go to Advani, they are promised every kind of protection by the system. ”
But the next day, Sukhuk Mehta finds Vinod under fire. They have received another call in which they were told that ‘you are our brother.’
chirped Vinod Chopra tells the writer that this miracle is not of the Home Minister Mr.Advani, but his film’s hero is Sanjay Dutt.
Actually, Sanjay and Abu Salem have been co-accused in the Bombay Blast Conspiracy Case. He was Salem who came with arms and ammunition in the garage of Sanjay.
That is why when the phone of Accused No. 87 of the Bombay Blast Case is called, “I have spent two years in jail for you. Vinod is like my brother. When I was in jail, he stood with me …. “So the threat is withdrawn immediately.
Sanjay Dutt: From AK-56 to Zappi
Sanjay Dutt’s film on the life! but why?
‘Sleepy cigarette was lying on father’s father’
‘Thank you’ note of Vidhu Vinod Chopra
But in the film Rajkumar Hirani’s latest film ‘Sanju’, the face of actor Sanjay Dutt has been presented, this story does not fit well.
Sanjay Dutt, starring Ranbir Kapoor, is here, ‘Baba’, who has been surrounded by himself in the conspiracies. In the film, these conspiracies sometimes raise their selfish friends, sometimes unknown phone calls and the country’s media.
Sanjay is hunting here. Indeed, Sanjay Dutt’s old friend Vidhu Vinod Chopra is the producer of this film and you can read it like ‘Thank You’ note written for his friend.
Well, this film was supposed to be Sanjay Dutt’s version from the beginning, but this compromised attitude of the most successful director of our era and the son of his beloved Prince Hirani hurts.
Crores of rupees, advanced technology and creativity spent, Sanju actor Sanjay Dutt does not grow beyond the PR film.
It is not that the film hides all facts or holds the wrong facts in front of us. Sanjay Dutt’s life, which has been destroyed in the first part of ‘Sanju’, has come to us in a very unimaginably manner.
The film refers to the hiding of drugs in shoe in their US flight, and to take their drugs only in the mole-room of the mother.
But the game is involved in how and through all the facts it presents.
Why did not the film say Sanjay Dutt
‘Daughter breaks his legs if he comes in films’
Why is the trailer of Sanju being criticized?
Hirani Style of Spin-Off Facts
For example, Sanjay’s confession used in the promo ‘how he slept with three hundred and fifty girls’ comes in the film, see.
Sanjay’s selfish friend fills the ear of Anushka Sharma, who has written her biography, and claims to sleep with hundreds of girls, telling him that he will surely lie when asked about Sanjay.
But when the writer confirms it directly to Sanjay, then Sanjay Foran considers it. That too in front of his wife
And such a thing that is about to break Sanjay’s character suddenly becomes the embodiment of his truth.
Keep it aside so that the whole film is full of insulting jokes against women and it has not been used to show Sanjay Dutt’s character, but as a cheap entertainment tool.
However, Hirani has done this in the ‘miracle-rape’ scene of ‘Three Idiots’.
Similarly, the recording of casual conversation with Sanjay Dutt’s underworld don has been heard through a newspaper of ‘Bay Pende’s Lote’ newspaper, which has no effect on him.
While the record of such conversation is present till the year 2000, in which he is drinking liquor and talking to Shanker Shakeel for laughter and jokes. Until seven years of his arrest in the Tada statute.
Sanjay Dutt’s film career
Dawood Ibrahim is also reported to be from 1991, when he was shooting for ‘Yalgarn’ in Dubai with Feroz Khan.
His meetings with Dawood’s brother Anis Ibrahim continued.
In the biography of Sanjay Dutt, published by writer Yasir Usman’s ‘Jagranot’, the expanse of the affair is mentioned in detail, which was later withdrawn by Sanjay Dutt.
Recently, the legal notice was sent to Sanjay Dutt by the publisher of this biography.
These are things before the Babri Masjid demolition in 1992, but the film does not mention them.
Reporting it in ‘Tehelka’ in 2013, journalist Nishita Jha also mentions how the writer Suketu Mehta refused to talk to him saying that he was happy with a chapter written by his close friend on Sanjay Dutt in his book Are not there.
Mehta does not want to interfere with his relationship. That’s the kind of directive control that ‘Sanju’ gets involved.
Despite being on an actor’s life, ‘Sanju’ references his two films, the first ‘Rocky’ and ‘Munnabhai MBBS’ of the second himself.
Apart from this, the poster of ‘Khalnayak’ is seen in one place and in the second scene, heroes are seen in the ‘Mission Kashmir’ costume.
Sanjay Dutt has worked in more than 180 films in his film career. But here’s the mention of Mahesh Bhatt’s finest ‘name’, no ‘road’.
Nor the ‘reality’ of changing the identity of his action hero, and neither the filmmaker who gives him the filmfare.
Is there one reason why all their hit films are spin-offs on their ‘bad boy image’ screen and so it is better to forget them in fresh PR exercises?
Sanjay Dutt’s Muslim identity
The story of Sanjay Dutt is actually the story of a city that is scattered in a fragment and the turning of Hindustan.
If you read in detail the Convention with the Convention in the Arms Act of Sanjay Dutt, then it has been argued from the lawyers that on the basis of Sanjay Babri demolition, the atmosphere of fear for minorities in Mumbai, keeping a gun But not connected with the subsequent bomb blasts.
It is also that they themselves are victims of a ‘terrorism’ (Terrorism), in such a way that the TADA lawsuit against them will be entangled with the spirit of this law that victims of violence and violence can not be kept in a balance.
But in Sanjay’s place, Sanjay Dutt’s Muslim identity has not been raised.
There is blood of Muslim mother in her veins, it is heard only in the threat of a goon.
Even if it seems to be unintentionally, in the most dangerous ‘Sanju’ it is to see what cleverness it dislikes the ruling players from this story.
The mention of ‘Babri Masjid has been dropped’, but not the makers. The 1993 Mumbai riots mention the destruction of Muslims, not the people responsible for the devastation.
The usual Muslim characters like Zaheer, Maqsud, Firhan and Sarfaraz, which were an essential part of the previous films of themselves, are missing from here.
Sanjay Dutt, who took the path of ‘Hindu heart emperor’ on the fringe of the door, did not even mention his film, his way of getting rid of problems.
In this convenient offer of facts, genius author Elite Joshi and master editor Hirani’s Jugalbandi are worth seeing here.
It is a pity that these artists are spending their art here in the PR machinery of friend Sanjay Dutt.
Raju Hirani’s ‘Outsider’ Hero Ends
Rajkumar has been teaching the film to every audience of previous films of ethics. He was a school to make a good person and to recognize his own mistakes, and it was always accepted by those who watched him.
This is also the formula of ‘Sanju’. But in a matter of ‘Sanju’, the last Raju Hirani is different from the films and the reason is very special.
From Munnabhai MBBS to ‘PK’, Raju Hirani chose the ‘outsider’ out of the system to teach this lesson of goodness by telling the mistakes of the system in his four films.
Munnabhai’s character was such an outsider who kept the actual assassins of our civil society and its gross pettiness in front of the elite doctors, corporate managers, moneylenders, astrologers and astrologers.
He was the protagonist of the proletariat, like the hero of the eighties.
The ‘Three Idiots’ was also an extension of this formula and to make it understand how education in our rattan is eating younger generations, an illiterate, poor alien, outside the education system, became the protagonist of Fusek Wangdu story.
And ‘PK’ was the peak of this formula where the aliens themselves had to come to expose the superstitious attitude of our society.
In such stories, Rajkumar Hirani used to obtain an absolute moral hierarchy. Each of these characters was a stranger’s outsider for the arrangement, so his criticism always seemed to be honest, he used to fall in the heart of the viewer.
The formula of ‘Sanju’ is also the same. But Sanjay Dutt’s character is exactly the opposite. His story is so impressive that how many opportunities this society and industry returns to its beloved insider.
When ‘Sanju’, through his role, starts to explain the judicial system and the flaws of the media, then it is like judging someone in his own case.
And that’s where ‘Sanju’ loses its honest voice. Director Raju Hirani too. The story goes to Sanjay Dutt for blaming someone else for every crime. The greedy friend of responsible money is responsible for the addiction of drugs.
The responsibility of making a relationship with a sweetheart friend is in the urge of the same masuke. The responsibility of obtaining unlawful AK-56 in the house at three licensed weapons is above the threatened phone calls.
The responsibility of friendship with the underworld is on top of the possible attack by denial, and above all the responsibility of putting ‘terrorists’ on the media is above the media.
Find new villain in media
Yes, the film has chosen a new villain for itself. The easiest target of today’s time, media.
In a long and reaching climax, actor Sanjay Dutt is telling the story of the ‘Newspaper’ on the prison radio.
How the over-selling fight took the newspaper towards creating sparkling news.
They are victims of this yellow journalism. Reminded of the radio theme ‘Lage Raho Munnabhai’, another emotional game plays with the audience.
This real-life troupe tries to convert Sanjay Dutt into a fictional character Munna. But Sanjay Dutt’s crime is not a crime of a fictional character, which will change from changing the story.
At the end of the film, the song ‘Baba Bolta Hai Bus Ho Gaya’ came along with End Credits, where Sanjay Dutt himself has come to the screen with Ranbir Kapoor himself to recite his charge sheet on the media.
Seeing his anger on the media, it seems as if the director of this last song is not Hirani, he is a US President Donald Trump.
The truth is that the cinema industry itself is a direct hand in corrupting the news related to media and turning it into an open PR exercise.
This disease of turning news into a campaign has come out of ‘Page Three’ and is on our cover page today.
In today’s era, hurting the media for negative news of the cinema industry is just like the media responsible for the fax news and trolling of the dominant political parties of our times.
Actually, this is their own fire. The cinema industry is an important part of the media industry and if the media produces ‘Fake Reality’, then today Sanju is the best example of this movie.