Aakrosh
Tags: tragedy, cult, murder

Plot synopsis:
Allegedly based on a true incident reported on page 7 of a local newspaper, the film was a scathing satire on the corruption in the judicial system and the victimization of the underprivileged by the able and the powerful.
Aakrosh forms a part of the series of works, based around explorations in violence, written by noted playwright Vijay Tendulkar, who had earlier written Shyam Benegal's Nishant (1974) and went to write Govind Nihalani's next surprise breakaway hit, Ardh Satya (1983).
Here the victim is shown so traumatized by excessive oppression and violation of his humanity, that he does not utter a single word almost for the length of the film and only bears a stunned look, though later he uses the same violence as a tool to express his own sense of violation and rage.
Basically, the story is of a peasant who is oppressed by landowners and his foremen while trying to eke out a living as a daily laborer. His comely wife, played by Smita Patil, is raped by the foreman who then has him arrested to hide his own crime. His wife commits suicide out of shame. The police bring him to the funeral grounds in manacles and shackles to complete the Last Rites of his dead father by lighting the funeral pyre — which in the Hindu religion only the son has the right to.
Standing beside the burning funeral pyre, he sees the foreman looking at his pre-pubescent sister with lustful eyes. Divining the fate that is in store for her, he grabs an axe and chops off his sister's head to forestall her dire future as perpetual victim, as he sees it. Upon completion of this hapless act of a desperate and downtrodden man, he raises his face towards the skies and screams, and screams and screams — the second time that we hear his voice in the movie (the first is in a flashback, as he vainly attempts to rescue his wife) — a device similar to Andrei Tarkovsky's showing of the icons in brilliant color at the end of his three-hour black-and-white film Andrei Rublev.

Review: brilliantly directed and acted.
This is one of the best movies ever made in India.
It is unfortunate that the world associates films in India exclusively with bollywood (atleast post-Ray), and so, films like Aakrosh do not get their due.
The film pits the idealism of a young lawyer, Bhaskar (Naseer), who is the public defendent for a tribal man, Lahanya (Om Puri), against the inhumanity of the very milieu he has grown up in and is a part of, and which exploits tribals off their labor, life, and dignity with abandon.
Especially poignant is Bhaskar's relationship with his mentor (Amrish Puri) who is the public prosecutor in this case.
The two share an extremely cordial relationship in personal life but are gulfs apart when it comes to their work and professional ideals.But probably most important point of the movie is what social theorist Gayatri Spivak asked some years later (in the context of women though)-- 'can the subaltern speak?'.
Aakrosh is a forceful reminder that in our capitalist and bureaucratic postcolonial set-up, they indeed cannot.
Nearly all performances in the film are brilliant.
Naseer, as the idealist lawyer is completely immersed in his character, to the degree that one forgets that it is Naseer you see on the screen, so good is he as Bhaskar.
Something, however, that cannot be said about any of the mainstream 'heroes' in Bollywood.
The film, I think, is worth watching for Naseer's method acting alone.
Om Puri is remarkable as a tribal man framed in the murder of his wife (Smita Patil in a brief appearance), who, as we discover in some painful shots, loves her a lot.
The agony on his face is haunting.
And Amreesh Puri is extremely effective as the public prosecutor.
The best scenes for me, personally, were Naseer's incessant, and ineffective, pleas to Om Puri to speak up and his cross examination of the witnesses and monologues in court.
If anyone needs a great exposition of method acting, then the song 'sans mein dard' is the place to start.
Following Naseer's movements in it are extremely educative..
A story of legally lawless land.
Aakrosh is perhaps the only movie after Sholey in which everything just is perfect.
All actors are completely immersed in their roles.
Unfortunately, in bollywood such movies don't get recognized and are often forgotten quickly.
Although, Aakrosh managed to get 6 awards in film fare but that was it.
TO my understanding Aakrosh is brilliantly directed movie.
Naseeruddin's acting was in particular very impressive, but I do not discount other minor/major actors-they were are all perfect.
Watch a distrust in the law at a tribal's face (Om Puri), watch a frustration of young idealist lawyer (Naseer), watch a confidence on seasoned lawyer (Ambrish Puri), watch a pain on destitute father and a sister.
The movie ends in a very realistic manner and with a great message: in the land of law the truth is only what can be supported by evidence--rest are all lies or just words.
Aakrosh has a only three songs and see the real street corner nautanki dance (Tu Aisa Mard...)--brilliantly done.
A must watch movie and a text book for those who are learning to act or direct..
Brilliant.
This is one of the greatest movies ever made in the world.
Not just in India.
The movie direction , the story line , the actors , the music and everything else about this movie is just superb.
The story is very powerful and the depth of characters is great.
I fall short of any adjectives for this movie.
The young lawyer's ( Naseeruddin Shah ) frustrations and attempts to free himself from the legal shackles of the court room and his thirst for something sane outside of this oppressive system is brilliantly portrayed.
On the other hand his mentor cum opponent's ( Amrish Puri )total submission to this mindless system and his slavery to seek proof and evidence for everything human is well portrayed.
The background score elevates the effect.In a nut shell any attempt to describe this movie will always fall short of it's greatness.
The best way to appreciate this movie is to watch it and you are sure to be struck dumb.
I don't have any means to give infinite stars for this movie otherwise I would have done so.
Unfortunately for this movie, it was made in the wrong time and place and it's predominantly leftist leanings gave it away.
Furthermore it was mainly anti-establishment.
It did not have the backing of a powerful media and advertisement paraphernalia.
Hence this movie was a box office flop.
Interestingly , though this movie was the forerunner to a number of box office hits attacking the political system in India..
A classic movie with a loud message..
A classic movie directed by Govind Nihalani.
Tremendous performances from Nasir, Om puri and all others in the film.
A must watch movie for the classes and if possible for the masses to.
A movie that depicts the true and the harsh face of the rural world..
Tight Story Depicting Mankind In Million Ways.
Now, that summary above would seem like a hyperbole, but in the case of Aakrosh, it isn't.
Simply telling the story of an untouchable family whose sole breadwinner gets entangled into a legal case after his wife is murdered and the police say he has done it.What follows is a series of depiction of human nature on how evil meets good & tries to suppress the truth.
With a climax so scintillating and adverse, the whole film revolves around how Naseeruddin Shah tries to save Om Puri's back from the gallows.
Both are equally phenomenal diving into their characters just like Amrish Puri is strict in his air.
What a terrific way of conveying a message with a screenplay so fine, dialogs so sharp & writing so bold, Aakrosh is definitely Indian cinema's pride.
Smitha Patil, Reema Lagoo & others have a short roles, but marvelous portrayals.BOTTOM LINE: Recommended to people who care for Indian cinema.
Maybe the best film of 1980.Can be watched with a typical Indian family?
NOSex/Foreplay: Mild | Violence/Gore: Strong | Drugs/Alcohol: Very Mild | Smoking: Strong | Nudity: No | Porn/Mouth-Kiss: No. A perfect match of everything in film making.
You can write a thesis on this movie but less said is more.
What I liked the most is the story, screenplay and characterization because Smita Patil, being in only one scene of a 2+ hours long movie, overshadowed stellar performances by Late Om Puri and Naseeruddin Shah.
I am speechless about Om Puri as he was in this movie.
The movie left me wondering why today's film makers and STARS, shout so much so, about their products?.
just watch, think and step up.
Oh my god!!
what did I witnessed??
was it a piece of superlative cinema ever been made in Indian CINEMA or a straight potshot at both, Indian cinema and our system??
How can one feel so much sensitized and connected to one's role that he forgets himself?
NASEERUDDIN SHAH and OM PURI deserve a round of applause for the pure epitome of acting levels being touched upon by them, not to forget AMRISH PURI.
The fire in LAHANIYA's eyes, the irresistible courage of NASEERUDDIN SHAH against this case, the constant nagging of the unsculprous elements present in this society, and the condition of MIDDLE MAN in this so created hypocrite society is so beautifully welded and presented that one feels where does one's position stands in today India.
Specially, the climax scene in which LAHANIYA kills her own sister to save her from the devils of this brutal society, the answer that AMRISH PURI gives to his junior NASEERUDDIN SHAH DAT even if anything happens to him, it will be a ACCIDENT; make this movie a excellent experience and leave with you an impact which you will found hard to get rid with, as this is what we wan't to get rid of, and still indulge ourselves in such malpractices that one's own self esteem should be degraded.
Really, hats off to GOVIND NIHALANI and his bunch of MASTER ACTORS which make this movie go beyond just a cinematic experience and steers one's soul to the extent that one wants to do something for the society, at least help one LAHANIYA, HELP one person find justice, so that THE GREAT WORK put forward by our ANCESTORS is not wasted, really just pure BRILLIANCE(i M trying to discover new adjectives to describe this movie, knowing that no amount of wordly praise or acclaim can justify the efforts put in to make this movie).
Rage of one against all.
Aakrosh presents multiple characters that reveal themselves to us by being a representative of the things that they belong to like their caste, economic and social status, political inclinations, and personal ideologies.
Bhikhu Lahanya's memories tell his story.
He is a mute.
Even in his thoughts, he remembers himself as some animal that understands the abyss between and is enraged at the brutalities of the higher castes.
This film is about an individual against all, as everyone else seems to plan and turn against the one who takes a stand, be it Bhikhu or Advocate Bhaskar or the social worker.
Our system inherently works faster for nexus of some influential people than for a common person.
Lahanya is immediately apprehended for a crime and his rage is clear under the light of the burning pyre (often in the film similar close-up shots of his mute yet brooding face represent the anger and helplessness of a lower caste poor man).
In the opening shots we see layers of stories that will run through this film going by separately, the lone stroll of the judge and his from upon seeing Bhaskar with his youthfulness and spirits, and Advocate Dushane and Bhaskar's walk in the courtroom alley where Lahanya and his family stand.
The film can be called a courtroom drama that follows the case outside the boundaries of the courtroom because things happening to the people involved in the case were much more revealing than the proceedings of the case itself, as also we are revealed the truth of the whole incident outside and what we see during the trial only tries to lead up to what we already know but has to be arrived upon with witnesses and proofs that a court agrees upon as evidence (revealing another complexity of the justice system where evidence triumphs over clear common sense).
We get a feel that the way Bhaskars character develops is by showing his reactions to the circumstances he finds himself in and his only choice was fighting the case for victory initially in his career but his later conversations with Dushane reveal his idealistic nature.
Dushane though a powerful character in terms of his profession and connections finds himself contributing to the range of problems faced by the likes of Lahanya because of his lower caste.
Dushane is also a kind of link between the nexus of card playing criminals and idealist Bhaskar.
When Lahanya burns his father's body, I felt that the film has concluded from one death to another but the following scenes serve to another level of depth of despair to the whole situation by showing Lahanya's evident hopelessness and justice systems paralysis of helplessness..
Awesome and the start of the Govind Nihalini.
Govind Nihalini made his directorial debut with this film, A small budget art film which gained him great acclaim.
The film is written by renowned Marathi playwright Vijay Tendulkar.
It has a nice story and brilliantly handled by Nihalini.
It has Om Puri play an Adivasi or a tribal who is blamed for murdering his wife, in fact Om Puri hardly speaks throughout the film and mostly just conveys through his expressions.
The film has Naseeruddin Shah play his lawyer, for once the court scenes seem realistic unlike the normal Hindi Courtroom drama.
The scenes between Naseer and Om Puri, Naseer and Amrish Puri are splendid,The climax is left open ended.
The director doesn't resort to commercial stuff,there is no heroine in the film, just focus on pure drama and it works superblyDirection is superb, he followed it with Ardh Satya and other such films Music is limited and goodOm Puri is splendid, the director's chemistry with him is simply fantastic, in this film he hardly speaks and mostly just conveys through his eyes Their pairing since this film and then in Ardh Satya,Tamas and finally with DEV is simply outstanding Naseeruddin Shah is simply outstanding as the lawyer, the best part being he is so natural.
Smita Patil has a brief role and she is good Amrish Puri plays a twisted character and is superb as always,Acyut Potdar is fantastic, rest are all okay.
Eye Opener of Rural India.
One of the best movies ever made on the rural background of India.
High point of the movie was when Om Puri kills his own sister in order to save her from the hands of so called high class people.
It really shows the frustration that a rural youth keeps on accumulating with the society.
The youth, Om Puri, is arrested on charges of murdering his wife, the crime he has not committed and know the culprits.
He is provided with a lawyer but he still refuses to disclose the names of culprits and events which led to his wife's death.
It shows the lack of faith he has in the law of the land.
Om Puri hasn't spoken a single line in this movie.
but still his eyes tells it all and I have to say that I haven't seen such an expressive acting in my whole life without a single sentence being delivered by an actor.
Hats off to Om Puri.
Other actors have done justice to their characters.
Particularly Naseeruddin shah and Amrish Puri are great.
A Must watch for the masses.
I give 10 out of 10 to this movie.