This has to be a first. From a character in the two minutes promos of MTV during the nascent days of satellite television in India to a larger than life hero in a ninety minute feature film Quick Gun Murugun shoots his way across the silver screen with aplomb and inimitable style. It’s a Mexican beans meets paysam Western. Instead of a whiskey swilling and a drawling Clint Eastwood please meet the dosa munching vegetarian cowboy Quick Gun Murugan. He sets out to put a stop to the evil designs of the non vegetarian expansionist dreams of the villain, Rice Plate Reddy (Oh, how I love this name).
The movie is set in the classic genre of the Westerns made immortal by the greats like Sergio Leone, John Sturges and Sam Peckinpah. Like all great Westerns this one too has a wide canvas, a predictable story narrated with consummate slickness and a supernatural touch but which has Indian written all over it. Way to go Mr Shashank Ghosh. His directorial skill is only matched with the outrageous, cheeky and gross scenarios manufactured with a whacky sense of humour. Music fans like me who have been following Channel [V] and MTV through the years will comprehend what I am talking about. The classy one liners used in the promos of both these channels are the inspiration for the zany dialogues of this film. I was specially amazed by the fact that considering Ghosh was using pot bellied Southern actors in a classic south Indian backdrop to narrate a revenge story has managed to pull off the presentation in orthodox Western mode albeit with a little too much violence for a comic Western. As a matter of fact movies of this genre should now be called a Southern.
The story takes off in a remote southern village in 1982 with the killing of the hero by Rice Plate Reddy played by Nasser. It’s a powerful portrayal of a ruthless killer who blows away every opposition to his business plans. It was touching to see the hero as a brave but vulnerable guy who gets outnumbered and killed. But wait a minute, this is not a cut and dried Sergio Leone saga where the dead stay dead. On reaching heaven (Ministry of Death, oh man) Quick Gun makes an application to the CEO, one Mr. C Gupta (yeah you guessed it) for repatriation to earth on the grounds of his unfinished business of protecting cows and promoting vegetarianism. Lord Chitragupta makes a statement on the changing gastronomic preferences in the modern world by observing that “Vegetarianism is the need of the hour” and bingo, Murugun is beamed back to earth, a la The Terminator, sans clothes but with a full chaddi. But hey, this is Mumbai 25 years later. And with a good reason too. Rice Plate Reddy has climbed up the corporate criminal ladder and instead of an angvastram he now sports designer super white suits along with an arm candy appropriately called Mango Dolly played by the luscious Rambha. In keeping with the metro standards he plans to launch the biggest non vegetarian dosa outlet chain called, what else but McDosa. He has one small problem though. His chief chef can’t find the right combination of ingredients which adds that extra zing to the proposed dosa. In comes Rowdy MBA (Who thought of all these names? I want to shake his hand.), the consultant played by Raju Sundaram whom you would remember in that fantastic dance number “Rukmani” from Roja. Of course no institute promotes the management techniques employed by him to get the perfect dosa.
The action sequences are as mindless as they are enjoyable. In fact anywhere else they would look ridiculous but since one expects them from Quick Gun they are hilarious. Fantastic music more appropriate to the classical Mexican stand offs and slick camera work makes the action gripping. Never mind the impossibility of what you see. It needs to be done. It’s Quick Gun Murugun. Mind it? I certainly didn’t!

Everything about this movie whether its the conceptualization by Abhay Deol, the music by Amit Trivedi and the loving strokes of superb direction by Anurag Kashyap is off beat. After a no go “No Smoking” he has struck back and how. Man, its mind blowing. Sarat Chandra’s classic has been given a contemporary look and interpretation which I thought was pretty near to my idea of the kind of guy Dev Das was namely a weak, self centered, addictive loser. And Abhay Deol has done enormous justice to the lead role. While the principal characters of the original classic remain the same, their backgrounds and events affecting their lives have been cleverly changed. The Bengali feudal has been replaced by a Punjabi industrialist. The rural backdrop remains the same. Paro assumes the avatar of the classic Punjabi belle freely mouthing abuses and completely obsessed with her childhood sweetheart. For a first timer Mahie Gill, a Chandigarh lass, has done a classy portrayal of Paro. Her total submission to her lover receives a rude jolt when the object of her affection spurns her on suspicions of promiscuous conduct. Of course it’s another matter that he has no problems sowing his wild oats at the first available opportunity. She tries to prevent the shattering of a lifelong dream but consents to marry a widower following the obdurate attitude of Dev. He on the other hand becomes a prisoner of his suspicions and his desire for Paro whose marriage triggers his descent into the abyss of alcoholic stupor and drug induced hallucinations.

Anurag Kashyap then uses the DPS MMS episode to introduce the character of Leni who is disgraced by public opprobrium, abandoned by her family and finally becomes a high priced escort Chanda, played by Kalki Koechlin who is really the surprise package of the movie. A beautiful girl of French stock with a pronounced pout a la Brigitte Bardot she took my heart away, crooked teeth and all. A drunken Dev who after abandoning the mustard fields of Punjab is exploring the depths of despair in the dark underbelly of Delhi literally falls into her arms. Initially Dev’s single minded indulgence in drinking marathons in between fantasizing of a reunion with Paro comes in his way of crystallizing any kind of relationship with Chanda. But after Paro tells him off he comes to realize that there is more to Chanda than just fancy costumes designed to titillate her customers. But then he mows down seven people under his car driving under the influence of Vodka and his demons. It also jolts him back to reality.

While the performances of all the actors are amazing a special mention needs to be made of the music. This is Amit Trivedi’s second film after Aamir but this new kid on the block has composed some exemplary music and has a great deal of promise. Each song has a different kind of sound. It’s a delightful pot pourri of Sufi music, Punjabi folk and western drum rolls. While the soulful rendition of “Pardesi” by Toshi takes your breath away the retro classic dance by the trio of Sinbad Phgura, Ammo ‘Too Sweet’ and Jimi ‘The Quiff’ could be one’s sole reason to watch the movie again. “Emosanal Atyachaar” with the music by Chandigarh’s very own Harish Band is another riot. It’s the watered down censored version which has been used in the movie. The original which is available on the Net is guaranteed to make your ears go red and I must warn that only those who can stomach the classic Hindi profanities may venture forth in listening to it.

The movie is a modern interpretation of a timeless classic story and it has been crafted with good performances, slick editing and set to great music. The language may not appeal to everyone’s sensibilities but apart from that it’s nearly flawless. It’s outstanding stuff and eminently watchable but of course without your kids or parents along. The ‘A’ rating is more than justified.