Madam CM Review 2.5 / 5 | Madam CM Movie Review | Madam CM 2021 Public Review

Politics is an important component of our society and in recent times, with the advent of social media, it has also become popular among the youth who were not of that interest earlier. However, he did not appear in our films. We obviously have movies full of politicians but a fictional film revolving around the life of a Neta was rare. Most of those which were recently released like [2019], Secondary Prime Minister [2019] And PM Narendra Modi [2019] There were biopics. MADAM CHIEF MINISTER, directed by Subhash Kapoor of Jolie LLB fame, released today, fills the spot. It is not a biopic and serves as a fictional political thriller. The trailer and some similarities with the life of former Uttar Pradesh Chief Minister Mayawati attract some attention. So does MADAM CHIEF MINISTER emerge as an entertaining political fare? Or does it fail to entice? Let us analyze.

MADAM CHIEF MINISTER is the story of a girl who does not meet anyone, being the most powerful woman in Uttar Pradesh. Tara Roopram (Richa Chadha) was born in 1982 in a village in Uttar Pradesh. On the same day, her father Roopram (Mukteshwar Ojha) is killed by members of a higher caste. Tara’s grandmother, who is upset with her birth anyway, as she has a fourth daughter in the family, becomes enraged when she learns about Ruparam’s demise. She accuses Tara of the tragedy and is about to kill her. But Tara’s mother (Seema Modi) prevents her from doing so. Many years later, Tara grew up and works as a librarian at a university. He is in a physical relationship with Indramani Tripathi (Akshay Oberoi), a political heir and a politically active student at the university. One day, Tara tells Indramani that she is pregnant and she wants to marry Indramani. To which Indramani clarified that this is not possible due to caste differences. He advises her to abort the baby. She refuses and threatens to expose him. When he is working in the forest, his goons attack him. However, he is saved by the people of Master Surajbhan (Saurabh Shukla), who is from the Parivartan Party of India, who fights for the lower castes and Dalits. Tara is indebted to the master and she starts living with him and even working for his party. She increasingly adopts the work of politics. Shortly before state elections, she advises Master to form an alliance with Vikas Party’s Arvind Singh (Shubhrajyoti Baaraat), who approached Master for a political partnership. The master sends Tara to meet Arvind Singh and explain to him the conditions that the master has. Tara succeeds. When no one is ready to contest the election against the CM, Tara takes the challenge. She impresses the junta with her fiery speeches. He also attacks himself to gain sympathy. All these reasons helped him defeat the CM in the elections. As per the terms of the alliance, for the first 2 the years, a candidate from the Parivartan Party of India will serve as the Chief Minister. Party members choose OP Kushwaha (Sangam Bhaguna) due to their seniority and political experience. But, the master overruled the decision and made Tara the chief minister. She shifted to CM’s spacious residence. She finds her mother to be with her who is clearly proud of Tara’s accomplishments. Meanwhile, his OSD (Officer on Special Duty), Danish Khan (Manav Kaul), informed him of the Vikas Party MLAs who have been elected by Vikas Singh to serve in the cabinet. All these are close to development as a friend or family member, and one of them is none other than Indramani Tripathi! Tara is angry that anyone who tried to kill her will become a cabinet minister. She tries her best not to get a ministerial berth. What happens next is the rest of the film.

Subhash Kapoor’s story is promising in parts. After RAAJNEETI [2010], We were not really a fictional political jerk. It is commendable that the author did well research and managed to come up with some interesting scenes, many of which are based on general political tactics such as unholy political alliances, horse trading etc. But Subhash Kapoor’s screenplay does not do full justice. There are some goofy in the first half, who overlook the film in favor of a variety of events. But in the second half, these minuses proliferate and affect effects. Subhash Kapoor’s dialogues are realistic and sharp. However, Tara used ‘catchphrase’ during her speeches.Main tumhari hoon‘Could have been thought better and hit harder.

Subhash Kapoor’s direction is at exceptional locations, but otherwise, it is notably pale compared to his previous films. What is surprising from the start is that the film moves very quickly, which is not really Subhash’s style. First of all, someone feels great because a fast-paced narrative can also mean a better narrative. But in the process of rushing through things, the director leaves out some developments, which confuse the audience. For example, why Tara is unable to move beyond pregnancy and is never portrayed when it happens that she changes her mind. Secondly, a member of the Master’s party Sundar (Bolloram Das) commits the heinous act of betrayal. Sadly, in the second half his track is completely forgotten. The finale is slightly abrupt. Ideally, the makers should have reversed the chronology. The Horseshoe sequence should have followed the poisoning bit track since it was quite powerful later. Had the film ended with the above action-packed track, the effect would have been there. Sadly, the opposite happens. So one spectacular sequence is disappointing one after the other and so, the audience comes out of the theater, it doesn’t look like it.

Recounting the prevailing caste wars in the rural areas, the Madia Minister made a good start. The introduction of the adult Tara and her relationship with Indramani are quickly explained and illustrated. But it is when Master Surajbhan entered the narrative that the film got better. The pure bond he shares with Tara is Hridayangam. The execution sounds a bit jarring at places, but no one feels too bad here because a lot is happening in the film. The two scenes that really stand out here are – Tara forcing herself and people from other lower castes to enter the temple; And the second is when he forcefully tonsils Indramani. The intermission point is arrest. After Interval, the film features a rocket in the form of Tara, whom Tara kidnaps Vikas Party MLAs and keeps them in a guest house. The play that follows here is sure to be placed on the edge of a seat. Sadly, instead of maintaining this high position, the film collapses. CM’s track is slowly getting poisoned, unpredictable, but it doesn’t really produce the desired effect because it’s flawed. The finale is well thought out but again, it lacks punch.

Talking about the performances, Richa Chadha does justice because she gives a confident and confident performance. The best thing about her performance is that she understands Tara well. Tara plays in the gallery as she makes the speech, but she also draws a line so that it does not look like a ham performance. Saurabh Shukla is lovely and all his scenes are charming. Manav Kaul is always reliable, but he is let down until the pre-climax and end of the script. Akshay Oberoi leaves a huge trail. One wishes he had more screen time. Shubhrajyoti Baaraat is fine as the villain. Bolloram Das is impartial. Sangam Bhaguna, Mukteshwar Ojha and Seema Modi do not have much scope. Nikhil Vijay (Bablu) played a semi-baked character and looked like he was trying to imitate popular actor Dhanush. Ravija Chauhan (Shashi Rai) is great. It is okay to play the characters of Shreya Awasthi (Dr. Lakshmi), Alok Sharad (Judge) and Judge Supriya Tiwari.

The music of Mangesh Dhakad is meaningless. Ideally, it should have been a songless film. ‘Bird bird’ It is forgetful. Mangesh Dhakad’s background score however is dramatic and has a commercial vibe. Jayesh Nair’s cinematography is superb.

The scene where Richa plays Dr. The currency of the statue of Ambedkar is specially captured. There are complaints in Vikram Singh’s production design. Veera Kapoor E’s costumes are straight out of life, while Nikita Kapoor’s makeup and prosthetics add realism. Parvez Sheikh’s action is not Gary and still works well as per the theme of the film. Chandrasekhar Prajapati’s editing is problematic.

Overall, MADAM CHIEF MINISTER boasts an interesting idea and great performance by Richa Chadha and Saurabh Shukla. But the script flaws and disappointing and abrupt endings spoil the show. It will struggle to get footfall at the box office as it has been released without any awareness.

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