“Daredevil Musthafa”, winner of and 2024 Winner Filmfare Award – Kannada Film Industry, has an interesting story behind its production. When its director, Shashank Soghal, decided to shoot a film based on the homonymous short story by Poornachandra Tejaswi, he couldn’t find producers. Instead, he turned to crowdfunding to raise the money, and with the help of more than 100 fans of the same writer, in the end he managed to shoot it. The result was quite successful as the film had a great theater run and is currently screening on Prime.
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The government PU college in Abachuru is an institution that has never had a Muslim student attend. Things change, however, when Principal Seebayya decides to take in Jamal Abdul Musthafa. Just the news of his arrival sent ripples around the college and particularly to Iyengari and his ‘gang’, who seem to ‘rule’ the school with their shenanigans. The fact that Musthafa is quite good looking, and another newcomer student who everyone seems to cherish, Ramamani, also seems to like him, even through a bumpy process, does not help. It also does not help that after an event during a festival, and although Musthafa had to face a number of issues with his professors before, eventually he wins them over, even becoming something of a school hero.
As rumors continue to fly left and right, Iyengari becomes even more aggravated, and the coming of a rather strict but just PE teacher, Kusumakar, complicates things even more. An incident including a ‘skirmish’ between the group and a group of local Muslims, ends with a cricket game to settle all differences, which takes place in front of students, faculty and the locals.
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Even though these are numerous logic holes and the story and the protagonists’ actions does not always make sense, Shashank Soghal has actually come up with a film that is quite smart, both in terms of context and cinematic presentation. For starters, the main concept regarding segregation and the way Muslims are treated by Hindus is rather well communicated, and in a style that is also quite entertaining through the comedic element that actually permeates the movie. Particularly the problems Iyengari faces with his father, who thinks his son has become friends with a Muslim are indicative, in an aspect that also stresses the dramatic aspect here.
That the teachers are also at a loss with what to do with the newcomer, the arrival of the former Army-employed, Kusumakar, and the impact he has in the school, and the corruption of the faculty cement the comments here, highlighting the rich context of the film.
At the same time, the charisma and chemistry of the plethora of protagonists is equally evident, essentially carrying the movie from beginning to almost the end. Aditya Ashree as Iyengar plays the frustrated youth who sees his status as leader threatened, and occasionally finds himself in impossible situations, in rather convincing fashion. Shishira Baikady is also quite good in the role of a youth who tries to fit in against all odds but is unwavering in retaining his dignity. The rest of the actors who play the students are equally good, exhibiting a chemistry that makes them look as if they have been friends for years. Vijay Shobaraj Pavoor as Kusumakar portrays his military demeanor to perfection, while Mandya Ramesh occasionally steals the show as ‘poor devil’ Principal Seebaya. Prerana Gowda as Ramamani is convincing both in her initial reluctance and her later resolve, concluding the excellent acting and casting here.
Rahul Roy’s cinematography captures both the school setting and the various other locations that feature in the film with realism and artistry, with the presentation of the festival being the most impressive. The depiction of the era (considering the story was written decades ago) is accurate too. Roy and Sharath Vashisht’s editing results in a rather frantic pace that adds to the entertainment the movie offers, with the cuts occasionally being part of the humor. At the same time though, at 160 minutes, the movie definitely overextends its welcome, with the episodes being too many, while the fact that the final game lasts almost half an hour will definitely tire anyone who is not a hardcore cricket fan. On the other hand, the slow motion and the occasional rock-ish soundtrack work well here, while the music video-like sequences are thankfully toned down.
In the end, and although some more restraint would definitely benefit it, “Daredevil Musthafa” emerges as a competent film that offers entertainment and food for thought aplenty, with its acting, direction and production values definitely raising it above its issues.
