Sudhir Mishra's latest offering 'Inkaar' is bold and dares to tackle an issue that is always hushed up - be it in films or in reality. But when you watch 'Inkaar' you realise that the film reminds you of Madhur Bandarkar's collection of work.
Interestingly, both Mishra and Bhandarkar showed amazing spark when they first made their foray into the film industry. Here were two young directors who wanted to expose the dark underbelly of the society through their films. While Mishra's 'Dharavi' narrated the story of a cab driver in Asia's largest slum, Bhandarkar narrated the story of the infamous bar dancers of Mumbai in 'Chandni Bar'.
Mishra, on the other hand, has stealthily risen as one of those filmmakers whose films made the viewer think. His 'Hazaaron Khwashein Aisi' remains a classic and the perfect example of the neo- leftist movement that exists in the country where the main protagonist (Kay Kay Menon) a staunch leftist, a student leader and the voice of the poor ultimately leaves everything to go and settle in capitalist
Madhur went on to make films on certain industries. He took on the media in 'Page 3', the fashion industry in 'Fashion', the corporate world in 'Corporate' and the industry he belongs to - Bollywood - in 'Heroine'. While his earlier films revealed some startling truths about the society, over the years Bhandarkar started heavily relying on stereotypes. So much so that each of films were more or less were based on the same framework and style.
Mishra, on the other hand, has stealthily risen as one of those filmmakers whose films made the viewer think. His 'Hazaaron Khwashein Aisi' remains a classic and the perfect example of the neo- leftist movement that exists in the country where the main protagonist (Kay Kay Menon) a staunch leftist, a student leader and the voice of the poor ultimately leaves everything to go and settle in capitalist
