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This is one of those films – not bad, but heck, the promos were better. You were promised a tale of political machinations and intrigue, with sexy stars to sweeten the deal.
What do you get? A mix of The Godfather, with notes from The Mahabharata, and hints of our very own Sarkar.
In the quest for Chief Ministership, we see two warring segments within the Pratap family. This family tree isn’t easy to follow, and the first half of the first half is largely spent trying to figure out exactly where the conflict is.
On one side is Virendra Pratap (Manoj Bajpai), who’s hoping to take over the party after his father suffers a heart attack. But the responsibility goes to his cousin. So they kill him. But then Virendra and loyal aide and Dalit grassroots leader Suraj (Ajay Devgn) are disappointed to see they now have to fight the son, Prithvi (Arjun Rampal, tad too pretty for this role).
However, they soon realise that the far more formidable force is the younger son Samar (Ranbir Kapoor), who, had he not been summoned to India upon his father’s death, would be submitting his thesis on Victorian literature the following week.
Once in the thick of politics, Samar realises, to his own surprise, that he can be a ruthless player - bumping off rivals, strategising moves and manipulating loved ones. Interestingly, this multi-layered character is shown to have a tender heart that beats for his American girlfriend, makes him devoted to his brother, and reminds him to bring back a gift for a loyal driver.
Conversely then, his cold-bloodedness comes across as a cinematic licence - a ploy to make his character more intriguing. In the dynastic political battle that follows, the reference of which is taken from the Mahabharata duel, we see bloodshed, and the drive to attain power diluting all else.
So the body count rises as people are killed by guns, car bombs and even a phone bomb. Now, the problem with the film is we’ve seen all this and more in countless political dramas. Apart from Samar, who we’re not sure whether to root for or despise, the other characters are too flimsy to make us feel for them.
Nana Patekar’s Brij Gopal, the behind-the-scenes subtle manipulator (inspired by Krishna from The Gita), isn’t satisfactorily fleshed out either. The female characters are a let-down with hardly any graph. And all three (Samar’s mother, his girlfriend, and sister-in-law) getting pregnant are key points in the plot - such that even a one-night rendezvous leads to pregnancy.
The film is too long, and the second half is inexplicably stretched. In true Bollywood fashion, politics is elevated to an exalted, unattainable status, and the many dialogues, beginning with Raajneeti mein..., get utterly tiresome.

There’s even an improbable track of a long-lost, abandoned son being found at the opportune time, leading to more complications in the quest for power.
Performance by the cast is note-worthy. Ranbir Kapoor is a delight, combining that superstar charm with serious acting chops. Katrina is impressive and restrained. Arjun Rampal, an unlikely choice, pulls off the role. Ajay Devgn plays his character with his trademark brooding intensity, while Manoj Bajpai is restricted by a one-dimensional character.
Writer- director Prakash Jha (Gangajal, Apaharan), who himself has been involved in politics, offers nothing new. A more grassroots, authentic portrayal would have been more welcome rather than the ‘politics is a ruthless game’ drama that we’re used to witnessing.
Still, for the few captivating moments that the film offers, and for Ranbir Kapoor’s unbeatable screen command, Raajneeti remains an above-average watch.



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