Back in 2015, Bajrangi Bhaijaan validated how commercial films can tug at your heartstrings while raking in big moolah. Now with Sultan, Salman Khan truly seems to be coming of age, because Ali Abbas Zafar’s third directorial venture has Khan in his element – his hard work is visible in this all-heart feature film.
We often wonder why wrestling, boxing, and freestyle martial arts suddenly seem to fascinate Bollywood studios. In a short period of two years, we have seen Mary Kom, Brothers, and now Sultan. Dangal is in the making, and all of these are star vehicles. The blend of machismo and patriotism is one factor. Given the strong melodrama and emotion in our films, doesn’t this game of power act as a convenient metaphor?
Coming to Sultan, the film cuts no new ground (to be objective). It follows the very old sports film arc. There is a wayward phase, a winning spree, a twist, emotions, failure, the underdog and his struggles, the numbing pre-climax, and the you-know-what climax. Sultan also has a Salman Khan – a strikingly competent one at that. Add to it a very much-in-form Anushka Sharma, a spirited supporting cast, breezy pace, and a couple of hummable songs – and you have a good enough recipe for an engaging mass entertainer.
Sultan starts off on a slightly far-fetched note, which is bound to raise questions from connoisseurs of well-reasoned cinema. Because not many folks in Delhi seem to be aware of this Olympic gold medallist from India who quit the game over a ‘family problem’! Sultan, on the other hand, is busy lifting tractors, collecting funds to open a blood bank, and living the life of a nobody. Before we begin to yawn, there comes a flashback – essentially a love story where Sultan (Khan) falls in love with Aarfa (Sharma), who is eyeing an Olympic medal in freestyle wrestling.
Sultan follows his passion just to win her over. Success, marriage, and a good amount of arrogance later, the film takes its much-awaited turn. Despite the predictability that looms large, the well-knit drama elevates the narrative. Sharma, in particular, matches Khan’s immaculate charisma and works the chemistry to a T.
If we were to nitpick, what Sultan lacks is a significant vision. We don’t see a resolve from the writer-director to make a “different” sports film. Instead, it becomes a “different” Salman Khan film. We so wish it were both – perhaps something on the lines of what Chak De! India intended to be. That was, again, a Yash Raj production. Anyhow, this isn’t a roadblock in enjoying the emotional ride that Sultan is.
What primarily works for Sultan is its unpretentious desiness. Based in rural Haryana, our protagonists echo the sound of the soil. As the need of the hour is not to elicit laughter, we don’t get pointed Haryanvi as in Tanu Weds Manu Returns, but a version of Hindi that is understandable and also true to the film’s rustic flavour.
A case in point is actor Anant Vidhaat (who plays Govind, Sultan’s best friend), who makes us feel he is just another youngster from the village. Also commendable are the visuals that director Ali Abbas Zafar and cinematographer Artur Żurawski capture. The over-the-top wedding video, narrow roads, farms, tractors, dargah visits, buffoonery with women at a wedding party, and the local clinic – Sultan has them all. When our hero dreams of a romantic number with his sweetheart, we see all snazzy kurta-pyjamas teamed with glitzy jackets, light bulbs, and the works.
Production design is top-notch, with almost authentic-looking akhadas and passages. The background score by YRF favourite Julius Packiam is rousing. Action (Larnell Stovall, Parvez Shaikh, “Anl” Arasu) is yet another high point, and it’s hard to see how the usually laid-back Khan makes it look so freewheeling.
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Vishal–Shekhar’s music cuts no new ground but fits well in the narrative. Despite its clichéd placement, Jag Ghoomeya works like a desi balm. Also, in case you miss the gold-standard Salman Khan, you have Farah Khan swirling off some insane derriere moves for him in Baby Ko Bass Pasand Hai.
No, he doesn’t look anywhere close to 30 in the flashback portions. Yet for an actor who is not known to throw surprises of any kind, Salman Khan is a major win in (and as) Sultan. If we look beyond his box office pull, it is Khan’s energy, screen presence, and earnest approach that take the tastiest cake in Sultan.
Anushka Sharma is flawless in a role that isn’t the usual hollow cardboard. Almost equal in stature to Sultan, we still wish Aarfa’s characterisation had more layers, especially because her silences tend to get a bit dazing after a point. Last seen in Mardaani, Anant Vidhaat is a major hoot. Present from start to end, we feel equally happy for him as we do for Aarfa as the climax rolls.
Randeep Hooda (in a special appearance) is a scene-stealer. Sultan wins a match and he yells with glee, “Saala Saand!” A moment of pride for a loser who watches another of his tribe take a rebirth. We almost clap there. Amit Sadh does well despite his tasteless role. Kumud Mishra is dependable as always. Spot-on casting by Shanoo Sharma, one must add.
To close it, there’s another angle to Sultan that deserves plaudits. After ages, Bollywood has a mainstream superstar venture with a Muslim protagonist who has nothing to do with terrorism, betrayal, or politics. There’s no star-crossed romance either, as the leading lady practices Islam too. Progressive with a greater worldview, Ali Abbas Zafar’s leads are ambitious, grounded, and, more importantly, regular.
A heartfelt thank you to the director for this massive step, as this film could well have been a Vijay or an Ajay. Guess we are back to Amitabh Bachchan’s Coolie days, where his Iqbal casually courted his Christian girlfriend. Out of umpteen reasons, this is yet another to catch this wholesome entertainer on the big screen.
VERDICT: ★★★ 1/2
Sultan is now streaming on Netflix.
