Komal Nahta :
Sanjeev Dutta has written a story which is both, inspirational and emotional. The story keeps the audience thoroughly engaged and involved. The difficulties which come in the way of the selfless Anand Kumar and his financially weak students and the manner in which they surmount them make for interesting viewing. Sanjeev Dutta’s screenplay is fantastic. The first half has some truly fun moments but it also has some extremely emotional moments. There are some claptrap moments also. The screenplay dips post-interval for a while but soon gains momentum. Once again, there are several emotional moments in the second half too and several scenes which will be met with thunderous applause. The climax is such a tear-jerker that the audience will cry, weep and sob.
Some of the truly terrific scenes which deserve special mention are: the scene in which a peon gives a million-dollar tip to Anand Kumar; the scene in which Anand and his father seek financial assistance from the minister; the scene in which Anand Kumar gets up from his chair when he is called up on the dais by Lallan Singh to make an important announcement; the scene when he does make the announcement; the scene in which Anand Kumar’s non-English-speaking students make asses of themselves by speaking English in front of the English-speaking students but then, they even sing a song in English; the scene in which the ward boy in the hospital reacts to Anand Kumar lying unattended on a stretcher; the action sequence in the hospital; and the high-on-emotions climax. The scenes which will make the audience laugh out loud are the ones in which Anand Kumar’s mother explains to her husband why she doesn’t need her shawl as also the scene in which Anand Kumar explains why his girlfriend (Mrunal Thakur) is not as beautiful as she thinks, and also the scene in which his ex-girlfriend is travelling in the car with her husband (Manav Gohil).
Dialogues, penned by Sanjeev Dutta, are absolute gems. They reach straight to the heart. The dialogue about the condition of the roads being so bad that poor people like Anand Kumar have been forced to take huge leaps is an example of the brilliance of the dialogue writer.
Hrithik Roshan delivers an award-winning performance. His entire look, his demeanour, his style of talking, his accent, his gait, and, of course, his acting are all so extraordinary that he will win lots of applause as the hero of the film. His emotional breakdown is mind-blowing. Mrunal Thakur makes an impressive debut in a brief role. She is a natural actress and has good screen presence. Nandish Singh lends lovely support as Anand’s brother. Aditya Srivastava is pretty effective as Lallan Singh. Pankaj Tripathi (as the minister) leaves a wonderful mark with his inimitable acting but he has limited scenes. Virendra Saxena is splendid as Anand’s father. In the role of Anand’s mother, Sadhana Singh Shahabadi stands her own. Vijay Verma makes his presence beautifully felt as Fuga. Amit Sadh makes his mark in a special appearance. Rajesh Sharma (in a special appearance) and Chittaranjan Giri have their moments. Manav Gohil stands out even in a minuscule role. Karishma Lala Sharma, Paritosh Sand (as the father of Anand’s girlfriend), Susheel Pandey (as the peon in the library), Vijay Kumar (as the head librarian), and Gyan Prakash Pandey (as the assistant librarian) provide good support. All the students of Anand Kumar’s class are fantastic. The students of Lallan Singh’s classes also lend decent support.
Vikas Bahl’s direction deserves a lot of praise. He has handled the subject with immense sensitivity and proves that his understanding of human emotions is superb. Kudos to him for converting the story about a mathematician’s life into a heart-touching human drama. The cycle chain analogy is superb. Ajay-Atul’s music is good and goes perfectly with the film’s mood. The ‘Basanti don’t dance’ song is appealing in its own way. The other songs are also nice. Amitabh Bhattacharya’s lyrics are good. Song picturisations (by Ganesh Acharya and Vijay Ganguly) are in synch with the mood of the film. Ajay-Atul’s background music is phenomenal. It heightens the impact of scenes to a large extent. Anay Goswamy’s cinematography is of a high order. Allan Amin’s action and stunt scenes are realistic. Production designing (by Amit Ray and Subrata Chakraborty) is of a fine standard. Sreekar Prasad’s editing is sharp.
On the whole, Super 30 is a super hit film, no questions asked. It will reach the Rs. 100-crore mark pretty fast and it has bright chances of touching the Rs. 150-crore mark and even joining the Rs. 200-crore club. It will do the best business in multiplexes and also in good single-screen cinemas of cities. Collections are bound to pick up as the positive word of mouth gains momemtum.
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