Superboys of Malegaon Review: An example which proves that ‘Writer baap hota hai…’

New Delhi: There comes a time, though rarely, when you watch a film so immersive that you forget about everything else—the outside world, the interval, even why the movie had to end. Superboys of Malegaon is one such film, one that can truly be called “Ek achi film”. It is a story of strong will, determination, learning from mistakes, friendship and pushing forward against all odds.

Reema Kagti, the film’s director, has crafted a masterpiece that takes the audience on an emotional rollercoaster, capturing emotions not just through dialogue but primarily through the eyes. There are moments in the film that remind us how underrated filmmaking can be—it’s not just about what’s on paper or the performances, but an art form that brings stories to life in a grand way. From the colour tones to scene compositions, from the rugged, dusty lanes of Malegaon to the broken hearts in the city of dreams, Mumbai, Kagti stitches together a visually and emotionally rich narrative, breathing life into each of her characters.

The story revolves around Nasir (played by Adarsh Gourav), a passionate filmmaker from a humble background. He runs a video parlour and has gained local fame for making spoofs of Bollywood classics like Sholay and Shaan. However, what he lacks is originality. Nasir’s journey takes the audience through a whirlwind of emotions—his dedication makes you admire him, his rise to success turns him into an egotistical snob, straining friendships and the foundation of his achievements, and his eventual realization comes at a cost.

The film spans three distinct time periods—1997, 2006, and 2010—all beautifully distinguished through colour tones, meticulous research on props, and an authentic depiction of India’s grassroots. The narrative seamlessly blends humour with heartbreak, evoking laughter through effortless punches while also bringing tears in moments of deep emotional impact. At times, it forces the audience to step into the protagonist’s shoes, making the experience deeply personal and unforgettable.

One particularly poignant scene features Farogh (played by Vineet Kumar Singh), a struggling and underrated writer, who returns to Malegaon after exhausting all his efforts in Mumbai. He visits his terminally ill friend Shafique (Shashank Arora) and notices a change in the video parlour’s signboard—a moment that encapsulates regretful victory and helplessness, conveyed entirely through expressions. The performances by the female leads are equally powerful—Muskkaan Jaferi as Shabeena delivers a phenomenal performance, capturing the emotional turmoil of unrequited love with immense depth. Manjiri Pupala, playing Tripti or the beloved “Basmati,” leaves a lasting impact despite her limited screen time, proving her character’s crucial significance.

Every scene and dialogue in the film feels authentic and natural, never exaggerated. The actors fully immerse themselves in their roles, embodying real-life personas rather than simply performing. The film embraces silence as much as it does words—‘hugs’ replace dialogues in moments of conflict resolution, exemplifying how great acting is about bringing real emotions to the screen rather than rehearsed expressions. Varun Grover’s dialogues are so weighty and poignant that they often leave the audience in an emotional limbo. Take, for example, the scene where Vineet’s character asks Adarsh’s character for 70 rupees for alcohol. When Adarsh refuses, calling it a sin, Vineet chuckles and says, “Acha, tu zameen pe daal de, main utha lunga.” Another memorable exchange occurs when Manjiri’s character tries to console Shashank after a betrayal, telling him, “Woh tumhara dost hai, tum itna kiye uske liye, itna toh kar hi sakta tha woh.” In response, Shashank, defending his friend despite the wrongdoing, says, “Nasir bhai bohot kiye hum logo ke liye, kitne log Malegaon mein film banaye aaj tak?” These are just a few examples of how the film masterfully weaves sharp dialogues with compelling performances, keeping the audience engaged throughout.

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While writing forms the backbone of this masterpiece, cinematography and dialect coaching elevate it further. The actors’ delivery feels so organic that it’s easy to forget they are performing. Adarsh Gourav once again proves his versatility, blending seamlessly into every scene—sometimes as a background presence, sometimes as ‘Superman.’ Shashank Arora matches his energy effortlessly. Vineet Kumar Singh as Farogh is receiving well-deserved praise, while Saqib Ayub and Anuj Singh Duhan make strong impressions, the latter showing great potential for a bright future.

Reema Kagti’s Superboys of Malegaon pays homage to Faiza Khan’s documentary Supermen of Malegaon, acknowledging its inspiration while carving out its own unique identity. Kagti and Zoya Akhtar, the power duo, as storytellers, shape the film in a way that highlights the brilliance of their craft as filmmakers while honouring the raw power of the original narrative.

At its core, this is a film about grit. About courage. About believing in the impossible, even when the odds are stacked against you. It is about the sheer, undying love for cinema—the kind that keeps you awake at night dreaming, that makes you gather your friends and say, “Kuch apna banate, idhar hi, apni film, apni jagah…”

Superboys of Malegaon is not just a film you watch; it is a film you feel. And that feeling stays with you. Do take the time to watch it—it’s unmissable.