Compared to what you may know about Vidhu Vinod Chopra and the movies he supports, this film is very different. A respectful place in the archive will be given to 12th Fail for someone who has merited a specialized place in mainstream film. He even made well-executed and planned commercial films. There should be some amazement while discussing this excursion.
Good movies are not being made in India. It has terrible marketing. Well-made movies rely on word-of-mouth. It takes time for good words to travel, and that time is disproportionate to the tolerance of those who control the theatrical machinery. For a while, we suffered under the false impression that the multiplex had completely transformed everything. Those in charge of distribution and exhibition mechanisms had large pockets and lengthy hands. The movie is essentially being smuggled into theaters with no production value, and there is no apparent purpose for this.
This inspirational story follows the struggles of a low-income student named Manoj (Vikrant Massey) from Bilgaon in Chambal and his almost miraculous journey to become an IPS officer. He hails from a lower middle class household in which his mother, siblings, and dad are all struggling to make ends meet. Things are very easy with him till the local Inspector Dushyant (Priyanshu Chatterjee) forbids bulk duplication. But the experience inspires him, and he approaches the test honestly the next time. The tides in Chambal are difficult for Mom (Geeta Aggarwal) and Dad Ranveer (Harish Khanna). Grandma (played by the gifted Sarita Joshi) is the family’s tough nut, uncompromising and instilling a spirit of defiance.
Manoj relocates to Gwalior and then Delhi, driven by his idealistic commitment to creating a corrupt free society and by Inspector Dushyant. He meets Pritam Pandey (Anant Vijay Joshi), an IAS candidate whose priorities are determined by what his wealthy father back home can buy, in Gwalior. Taken from all the money he carries, yet full of idealism and dignity, Hindi medium 12th Fail sets off on his destiny date.
There are many and genuine problems. For a backyard youngster swept away by life’s tides, a trip to the bustling capital represents a change in gravity. There is more of the former in the miss and hit game. Similar to Super 30, institutional supports for personal goals are viewed as structural models. In Manoj, he is so innocent—and authentically so—that he is completely ignorant of the governmental structure.
When he meets Shraddha Joshi (Medha Shankar), another candidate for State Services, the filmmakers turn to standard ploys, including romance. Manoj is motivated by her and is prepared to try the unachievable at her request. A journey of ambitions and disappointments, with vertical and systemic props, idealism, and corruption, is shown to the audience along the protracted and tiresome journey from the villager who failed to the one who bites off more than he can chew. Thankfully, Vidhu Vinod stays away from the pulpit and keeps to a straightforward story that flows with an honest writing inside Bollywood’s celluloid framework.
You may relate to Manoj’s moments of failure since he fights so hard; occasionally, you could even find yourself crying uncontrollably. Bimal Da and Do Bheega Zameen are not this. Still, it’s a candid look at the struggles faced by the underdog. It engages you, occasionally stifles your emotions, and undoubtedly inspires. It’s not too dramatic, but it’s dramatic enough to keep you interested and involved at all times.
The characters are not overly dramatic; rather, they are realistic. The two actors that portray restricted storylines well are Anshumaan Pushkar as the image of failure, Gauri Bhaiya, and Sam Mohan as the English-speaking, successful IAS officer, Deep Mohan. Notable is Anant Vijay Joshi, the friend who only grudgingly shares the dream. As the suffering woman, Geeta Agarwal is a modern-day warrior as well as the Nirupa Roy of the past. Her delivery of the language gives the story of suffering a great deal of sympathy. In a part that had the potential to be a great cameo, Harish Khanna falls flat. The main female character, Medha Shankar, makes an inadequate effort.
The team elevates the film’s legitimacy, which is based on an Anurag Pathak novel, many levels. With remarkable ease, cinematographer Rangarajan Ramabadran transports you from the picturesque Chambal to the claustrophobic Delhi. It is important to highlight how he manages the wheat mill and Delhi Street. The art direction by Hemant Wagh is flawless. A particular mention should go to the whole Sound Department. Jaskunwar Kohli collaborates with Vidhu Vinod to edit the final output into a compelling story.
Vidhu Vinod Chopra really is the owner of the film. Because I, like with many others, have not read Anurag Pathak, it is hard to evaluate how effectively he has adapted the work. This is a really distinctive tune and will go down as one of the best ones from the director, who is known for movies like the Munna Bhai film trilogy, 3 Idiots, 1942 Love Story, and Mission Kashmir. With his resume, this is a significant statement. Continue, Vidhu Chopra. Nice to see someone retain their inventiveness despite the cacophony and dust.
The movie also stars Vikrant Massey, a talented actor who at last gets a role that may have challenged him. His body language, hesitant rhythm, and self-belief are all expertly managed despite his complete lack of mannerisms. This role would be recognized, applauded, appreciated, and imitated in any other movie setting. It is ignored here. We must hope for him to appear more frequently on screen and to see Vidhu Vinod Chopra in a similar mindset for the sake of our film and for excellent cinema. Hopefully, Vidhu Vinod Chopra and Vikrant Massey won’t be discouraged by the movie’s lackluster box office results. All one may say is “Re start” in order to echoes the topic of their story.