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How ‘Sacred Games’ Stays True to the Source Novel But also Turns it on its Head

How ‘Sacred Games’ Stays True to the Source Novel But also Turns it on its Head

Netflix new series ‘Sacred Games’ finally breaks the barrier and displayed that we get our international hit with its complex cat-and-mouse chase.

If you love international series and believe that Indian shows, despite testing the waters on the digital platform, are not at par, Netflix’s latest home-grown series Sacred Games will change your mind. The show, which was released last Friday, has set a new benchmark for both Indian series and films.

The dark humour of Anurag Kashyap and the intelligence of Vikramaditya Motwane have created a racy storyline that probes the depths of conflict — the societal, systemic and the personal — each layering over the other at once. And they are not scared to peel raw emotions and call a spade a spade.

Sacred Games, which is based on Vikram Chandra’s book of the same title, stars Saif Ali Khan and Nawazuddin Siddiqui. It has already received rave reviews by Indian and international critics and is being compared with Netflix’s other popular show Narcos.

The eight episodes of Season 1 set the intentions right from the word go with its classic Mumbai crime scene where Sartaj Singh (Saif Ali Khan) impresses the audience with his sincerity as a low-ranking, honest cop in the corrupt Mumbai police department, who is testifying in the murder of a  teenager by bad cops. His senior officers are expecting him to lie and cover the tracks of colleagues gone dirty. He has a clear choice to make, either lie that the teenager was armed and threatening officers or admit to the assault charge himself. Singh, who has looked up to his father all his life, is debating values versus practicality. At this juncture,  he gets a call from gangster Ganesh Gaitonde (Nawazuddin Siddiqui), who has been missing and thought dead for 15 years. He informs Singh about an impending disaster in Mumbai and challenges him to be like his “honest” father (Singh believes his father was non-corrupt) and stop his evil intentions.

Here starts the backstory and non-linear cuts to Gaitonde’s personality behind the assumed gangster. The so-called villain, who has thrived on the economy of religious fundamentalism, corruption and all kinds of divides — social, economic, political — still has the biggest heart and accepts a transgender as his lady love.

The characters are reliably convincing. However nothing compares to Nawazuddin as Gaitonde, who is deliciously etched in terms of complexity. Gaitonde is a product of his circumstance and acts accordingly but that never stops him from staying true to certain values. He won’t be communal, and he won’t abandon the marginalised. And he knows to crack the sordid game, except that he is a part of it and wants a good guy to play deliverer.

Saif Ali Khan, who we believe has always been a misfit in the mainstream Hindi industry given his depth, range and subtlety, not only finds his groove but grows roots here. He evokes the mix of torment, disappointment and yet hope to redeem himself with a subtlety and spartan strength that draws you into his mindspace.

Radhika Apte as the RAW agent Anjali is dependable though her character exists only to encourage the plot’s movement as opposed to unwinding it. Her backstory, including a missing dad and workplace sexism are left dangling in mid-air, detached from the main plot.

The story plunges through highs and lows, sometimes inconsistently, but in the end steadying itself. There’s a bite of fury, the helplessness of despair and yet a pulse of life pushing itself through.

This is Mumbai like no other, a dangerous cocktail of religion, politics and Bollywood that shapes its contours. It is simply like any character in Sacred Games, broken but determined to move on.

Both Netflix and Amazon are commissioning home content for their regional as well as international markets. For filmmakers and storytellers, truly the world can be a stage in terms of creativity and originality.

Writer: Nitesh Jidani

Courtesy: The Pioneer

How ‘Sacred Games’ Stays True to the Source Novel But also Turns it on its Head

How ‘Sacred Games’ Stays True to the Source Novel But also Turns it on its Head

Netflix new series ‘Sacred Games’ finally breaks the barrier and displayed that we get our international hit with its complex cat-and-mouse chase.

If you love international series and believe that Indian shows, despite testing the waters on the digital platform, are not at par, Netflix’s latest home-grown series Sacred Games will change your mind. The show, which was released last Friday, has set a new benchmark for both Indian series and films.

The dark humour of Anurag Kashyap and the intelligence of Vikramaditya Motwane have created a racy storyline that probes the depths of conflict — the societal, systemic and the personal — each layering over the other at once. And they are not scared to peel raw emotions and call a spade a spade.

Sacred Games, which is based on Vikram Chandra’s book of the same title, stars Saif Ali Khan and Nawazuddin Siddiqui. It has already received rave reviews by Indian and international critics and is being compared with Netflix’s other popular show Narcos.

The eight episodes of Season 1 set the intentions right from the word go with its classic Mumbai crime scene where Sartaj Singh (Saif Ali Khan) impresses the audience with his sincerity as a low-ranking, honest cop in the corrupt Mumbai police department, who is testifying in the murder of a  teenager by bad cops. His senior officers are expecting him to lie and cover the tracks of colleagues gone dirty. He has a clear choice to make, either lie that the teenager was armed and threatening officers or admit to the assault charge himself. Singh, who has looked up to his father all his life, is debating values versus practicality. At this juncture,  he gets a call from gangster Ganesh Gaitonde (Nawazuddin Siddiqui), who has been missing and thought dead for 15 years. He informs Singh about an impending disaster in Mumbai and challenges him to be like his “honest” father (Singh believes his father was non-corrupt) and stop his evil intentions.

Here starts the backstory and non-linear cuts to Gaitonde’s personality behind the assumed gangster. The so-called villain, who has thrived on the economy of religious fundamentalism, corruption and all kinds of divides — social, economic, political — still has the biggest heart and accepts a transgender as his lady love.

The characters are reliably convincing. However nothing compares to Nawazuddin as Gaitonde, who is deliciously etched in terms of complexity. Gaitonde is a product of his circumstance and acts accordingly but that never stops him from staying true to certain values. He won’t be communal, and he won’t abandon the marginalised. And he knows to crack the sordid game, except that he is a part of it and wants a good guy to play deliverer.

Saif Ali Khan, who we believe has always been a misfit in the mainstream Hindi industry given his depth, range and subtlety, not only finds his groove but grows roots here. He evokes the mix of torment, disappointment and yet hope to redeem himself with a subtlety and spartan strength that draws you into his mindspace.

Radhika Apte as the RAW agent Anjali is dependable though her character exists only to encourage the plot’s movement as opposed to unwinding it. Her backstory, including a missing dad and workplace sexism are left dangling in mid-air, detached from the main plot.

The story plunges through highs and lows, sometimes inconsistently, but in the end steadying itself. There’s a bite of fury, the helplessness of despair and yet a pulse of life pushing itself through.

This is Mumbai like no other, a dangerous cocktail of religion, politics and Bollywood that shapes its contours. It is simply like any character in Sacred Games, broken but determined to move on.

Both Netflix and Amazon are commissioning home content for their regional as well as international markets. For filmmakers and storytellers, truly the world can be a stage in terms of creativity and originality.

Writer: Nitesh Jidani

Courtesy: The Pioneer

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