Rajkummar Rao stuns in his maiden dabangg avatar. Saurabh Sachdeva, Saurabh Shukla, Swanand Kirkire, lead a bevy of heavyweight talents. The writing and direction are solid, but the plot treads overly familiar ground, leaving the film with a lingering sense of déjà vu.
Rating: 
(3 / 5)
By Mayur Lookhar
Maalik paida nahi hue toh kya, ban toh sakte hain. Well, not everyone is born into privilege, but you can create your own destiny. For men like Deepak, though, the only way to become a maalik (lord/powerful figure) is by instilling fear. Didn’t Raavan conquer through fear? What was that song in the Jackie Shroff film, Jhukti hai duniya, jhukane wala chahiye (The world bows; it just needs someone who can make it bow).
Story
Maalik (Rajkummar Rao) is the most feared don or as they say in the Hindi heartland, Bahubali/dabangg. In writer-director Pulkit’s imagined land of Pradesh, the people are more than willing to be conquered. Chandrashekhar (Saurabh Sachdeva), a rival gangster believes he can win over the local businessmen by exposing how dealing with Maalik isn’t exactly profitable, since Maalik hoards most of the returns. But in this region, currency is measured in fear. One of the businessmen quickly reminds Chandrashekhar that in Pradesh, only the truly powerful deserve to rule, and they all fear Maalik the most.
Though the film never explicitly names the region, this line subtly underscores how parts of the Hindi heartland, especially Uttar Pradesh, Madhya Pradesh, and Bihar, have long been dominated by muscle power. One reckons, though, that these states have come a long way from those dark days.
Set in Allahabad (now Prayagraj), Pulkit’s film covers the two-year reign (1988 to 1990) of Maalik. The son of a poor farmer, Deepak always carried a fire in his eyes. His father’s pleas to change his attitude have no effect. Bindeshwar (Rajendra Gupta) often reminds his son, “Don’t forget your place. You are the son of a mazdoor (labourer).” Deepak is quick to respond, “Well, you are the father of a mazboot (strong) son. Live with it.” Clearly, this father-son relationship is strained.
When a local goon damages Bindeshwar’s crops and even assaults the old man, an enraged Deepak turns to local MP Shankar Singh (Saurabh Shukla) for help. Singh is idolized by university students. But all Deepak gets from Singh is a dose of reality. The wily old politician reminds him that if, as a son, he couldn’t defend his own father, he shouldn’t expect help from others.
This becomes the turning point in Deepak’s life. He brutally kills his father’s attacker in full public view. If that doesn’t strike fear, nothing will. In less than two years, Deepak transforms into Maalik, the most feared don in Pradesh.
Screenplay & Direction
For all the criticism, there’s no denying that action-packed, violent films have found pan-India acceptance. As Maalik himself remarks during a killing in a cinema hall, “Manoranjan mein hinsa ho raha hai” (Entertainment now includes violence). Not all such films succeed, but the hangover of K.G.F, Pushpa, and Animal is so strong that other filmmakers tend to follow the herd.
Maalik, too, offers nothing new. it’s the same old story of an underdog rising to become the top dog in a gangster’s paradise. Deepak’s journey has been seen countless times before in Indian cinema.
Maalik has déjà vu written all over it, in its plot, subplots, and structure. Yet, Pulkit finely captures the Dabangg-style machismo without losing sight of the Allahabad culture and lingo. Blessed with an able cast, the accents feel authentic and never forced. And if it’s set in Allahabad, how can there not be a reference to Amitabh Bachchan?
What helps Maalik stand out are its finely written dialogues, not over the top, but laced with just the right amount of dare and Allahabadi humour. Despite the air of inevitability that hangs over the film, it’s the strong writing and top-notch performances that keep the viewer engaged. Pulkit proves that even a tried-and-tested plot can be made engaging through solid writing and gripping drama. And there’s plenty of both in this 152-minute-long film. The Maalik director surely earns our respect with this sharply executed noir piece.
Acting
From the moment the poster and then the trailer dropped, the buzz in tinsel town has been that Rajkummar Rao is set to break away from his “Bicky” image with his maiden mass action entertainer. Rao himself humbly stated at the trailer launch that it’s important for an actor not to get stuck in a particular image.
This reviewer, too, had begun to tire of Rao’s many Bicky-like avatars. But let’s not forget, Rao is no stranger to noir. In fact, some of his finest work has emerged from this very genre: Shahid (2013), Trapped (2016), Omerta (2018). He was even intimidating as Kangana Ranaut’s chauvinistic fiancé in Queen (2014).
Call it irony or destiny, but Rao’s biggest commercial successes have come in the form of a comedy (Bareilly Ki Barfi) and a horror comedy (Stree franchise). Rao has humbly embraced those hits, but his true acting prowess has consistently shone through in his darker, more intense roles.
As for me, I never doubted Rao’s ability to make an impact in an action role. And oh boy, he puts on quite a show as Maalik. Sure, bulking up is just part of the job, but without the ability to strike fear like the devil, no actor could have truly owned the Maalik character. Rao’s Maalik is unapologetic in his actions and words, killing anyone who comes in his way. Hero or villain, he doesn’t care what people call him.
At 40, and having bulked up, it’s not easy to pass off as a college student but thankfully, those scenes are limited. The curly hair, beard, and shades have their own charm. There’s plenty of gunfire and punches, but what truly defines Maalik is his Allahabadi rutba (prestige) and that unmistakable dabangg attitude. It’s this commanding presence that instills fear in his enemies and in all of Pradesh. For some, this may come as a surprise, but with this intense performance, Rao proves his range, and shows that he always had it in him to play a Maalik. It’s just that this side of him was never truly tapped.
Rao is the Maalik, and Saurabh Sachdeva is the master. The latter, who once taught Rao in film school, has been seizing his long-overdue acting opportunities with both hands. As Chandrashekhar, the underrated Sachdeva proves to be a worthy adversary to Maalik. Though they are foes, one thing unites Chandrashekhar and Maalik – a shared lust for power.
Saurabh Shukla, the other SS never ceases to amaze you with yet another impressive act. Shankar Singh is a master politician, one who has two shades. To the public, he is an idol, and why wouldn’t he. After all, it was Singh who inspired Deepak to dream with his balloon analogy during his inspiring speech at the University.
Lyricist, singer Swanand Kirkire, often brilliant with his words, proves equally skilled as an actor. Opportunistic politicians like Balhar Singh (Kirkire) tend to sway with the winds of convenience, and Kirkire brings his natural charm to the character with ease.
What’s a Bengali doing in Allahabad? Suspended encounter specialist Prabhu Das (Prosenjit Chatterjee) is brought in from Calcutta (now Kolkata) to hunt down Maalik. Unlike the insider-outsider politics seen in some regions today, Das is welcomed in Allahabad. Given Bengal’s own history of goondaism, Chatterjee seamlessly fits into the socio-political crime world of 1980s Allahabad. The first face-off between Maalik and Prabhu Das is sure to give you goosebumps.
Anshumaan Pushkar plays Badauna, Maalik’s partner in crime. Pushkar is competent for the most part, though he perhaps lets his guard down slightly in the climax.
Former Miss World Manushi Chhillar hasn’t had a smooth start in her early years in Bollywood. Interestingly, it’s rare to see two Haryanvis playing the lead couple in a mainstream Hindi film. Despite a disappointing debut in Samrat Prithviraj (2022), it felt too early to write off the young actor. She has a naturally gifted tone and perhaps just needs the right character and director to bring out the best in her.
Does Maalik offer her that opportunity? Not quite. She plays Shalini, the doting wife. Her early scenes mostly revolve around Deepak wanting to get intimate, while Shalini responds each time with a grievance of her own. There were fears that Chhillar would be reduced to just these moments, but thankfully, her character eventually finds a voice and meets a predictable fate.
Pulkit and his casting director Mukesh Chhabra have not only got their leading cast right but also deserve praise for spotting some real gems in the supporting cast. How often do gang members get quality roles? This is where Maalik stands out, as director Pulkit allows a couple of these characters to have their moment. One such instance comes during a gang banter scene where Maalik urges Badauna to get married. Badauna feels there’s no one for him, but Maalik first points to a male gang member who is clearly not amused, and then to a bearded, big, bald guy who is more than happy to be part of the joke. Ideally, such burly, intimidating men are cast purely as brutes, but here, Pulkit makes an effort to show the human side of such character.
Music / Technical
A gangster paradise calls for a titillating number. While Huma Qureshi is ever-gorgeous, dance is not exactly her forte. The title track Raj Karega Maalik has a solid beat, with MC Square’s rap carrying a slight R.D. Burman-esque flavour. Sachin-Jigar’s title track works well, but the two remaining songs feel elementary. The romantic number Naamumkin feels forced, though it perhaps serves the purpose of adding to poor Manushi Chhillar’s screen time.
Maalik stands out for its thrilling background score by Ketan Sodha, which adds great value to many of the film’s intense scenes. Equally gripping is Anuj Rakesh Dhawan’s fine cinematography.
What’s admirable about Maalik is that the aggression comes more through drama than action. Maalik’s first murder is brutal, but thereafter, Pulkit does well to restrain the gunfire and bloodshed.
Final Word
Critically speaking, Maalik presents a world that has been explored countless times, but often, it’s the audience reaction that truly counts. Despite limited occupancy, a striking visual for this reviewer was seeing three young girls (students) head straight into the cinema after college to catch Maalik and all of them experienced genuine goosebumps. Then again, there were two or three viewers who walked out about 20 minutes after the interval. As always, action crime thrillers tend to divide opinion.
Yes, the story isn’t fresh, but Pulkit’s world and his characters are undeniably appealing. We’re still puzzled by the makers’ decision not to hold a press screening. Perhaps they wanted genuine reviews and audience reactions to emerge on Friday evening and Saturday. If crime and action are your thing, then Maalik is worth a visit.
