Superboys of Malegaon

‘Shaukh paal ke kya karega, Malegaon mein tu marega.’ This innocuous line sung rambunctiously by two childhood friends on a bike ride is both about ambition and the realisation of the futility of it, destined as they are to live within the borders of Malegaon, the small town they were born in and will probably die in. And yet, it is these two boys — along with a few pals, all of who share a common love for cinema — that have gone on to put Malegaon on the map. Superboys of Malegaon revolves around this motley crew. A charming, slice-of-life film about ordinary men doing extraordinary things, this Reema Kagti directorial written by Varun Grover is a potent, layered example of storytelling, one which strikes a chord immediately, even if you know very little of the world the film is set in. Malegaon, an unassuming town close to Nashik in Maharashtra, has made it to the news for a variety of reasons. There were the Malegaon blasts close to two decades ago that claimed many lives. Five years ago, Malegaon incubated itself in such a way that very few lives were lost in the Covid-19 pandemic, prompting other administrations to attempt and replicate its model.

Fictional translations of ready-made underdog journeys make me nervous. As do independent themes getting the mainstream treatment. A recent example is Taika Waititi’s Next Goal Wins (2023), a sports comedy about “the weakest football team in the world” that reduced its source material (a fantastic 2014 documentary) to a checklist of sef-conscious tropes. In terms of concept and design, Superboys of Malegaon ticks both boxes. Directed by Reema Kagti and written by Varun Grover, the 131-minute feature is inspired by Faiza Ahmad Khan’s Supermen of Malegaon (2012), a charming 65-minute documentary that revolves around the cinema-crazy residents of a small Maharashtrian town who start their own DIY-filmmaking ecosystem of Bollywood spoofs. I remember watching Khan’s documentary and marvelling at how it married the objectivity of journalism with the subjectivity of emotion. It allowed the story to tell itself, while trusting the ‘characters’ to underline its humour with cultural meaning.

“Small cell carcinoma,” the doctor begins. Two blank faces stare at him. “Have you seen Anand?” he tries again. “What happened to Rajesh Khanna.” The simple point of Superboys of Malegaon is that, even at its bleakest, life can be made sweeter by cinema. The Anand reference softens the blow of a cancer diagnosis for two movie-crazy men who’ve travelled from the small town of Malegaon in Maharashtra. When they get back, the patient’s friends gently rib him about having a rich man’s ailment. Even the doctor’s life is made a little happier. He accepts a part in their upcoming film in return for home visits, saying he’d always wanted to be an actor but his father forbade it. Thirteen years earlier, Nasir (Adarsh Gourav) and Shafique (Shashank Arora) are on a motorbike, singing an improvised tune about not being too ambitious because they’ll end up dying in Malegaon anyway. It’s an early acceptance of the cards they’ve been dealt: Nasir to shoot wedding videos and work in his brother’s photo studio, Shafique in the mill.

In 2019, a production house went into the slums of Dharavi, into the lives of Murad Ahmed (Ranveer Singh), his ladylove Safeena (Alia Bhatt) and the gully-origin rap music that emanated passionately from their mohalla. It was Zoya Akhtar’s delicately unobtrusive look at a troubled family in a community which is in no conflict with any other. Safeena, she cast, as a surgeon in the making. Six years later, Zoya’s filmmaking partner Reema Kagti replicates the community in a different setting, driven by a different passion. Doffing her hat to Faiza Ahmad Khan and her crew for their 2012 documentary ‘Supermen of Malegaon’, which is the springboard for Varun Grover’s feature film screenplay, the camera moves to Malegaon, a small town in Maharashtra, earlier known for its (hand) loom factories.

Superboys of Malegaon is inspired by Faiza Ahmad Khan’s terrific 2008 documentary ‘Supermen of Malegaon’, on a subset of residents of Malegaon who had become famous for turning their home-grown spoofs of Bollywood blockbusters into a profitable cottage industry. The filmmakers give credit to the original at the end of their film, which in essence, is a feature film with many elements borrowed from the documentary, which in turn was based on the remarkable enterprise on display in a small Maharashtra town afflicted by communal tensions and poverty, and about the power of dreaming.

सिनेमा से राब्ता रखने वालों को तो मालेगांव और वहां की सिनेमाई हलचलों के बारे में पता होगा। जिन्हें नहीं पता, वे पहले यह जान लें कि मालेगांव दरअसल महाराष्ट्र के नासिक जिले का एक छोटा-सा मुस्लिम बहुल शहर है। 90 के दशक में यहां के एक उत्साही युवक नासिर शेख ने अपने दोस्तों, साथियों के साथ मिल कर बहुत कम पैसों में ‘मालेगांव के शोले’, ‘मालेगांव का चिंटू’ सरीखी फिल्में बना कर खूब वाहवाही बटोरी थी और अपनी एक स्थानीय फिल्म इंडस्ट्री खड़ी कर डाली थी। उनके बारे में 2012 में आई फैज़ा अहमद खान की एक डॉक्यूमैंट्री ‘सुपरमैन ऑफ मालेगांव’ बहुत सराही गई थी। उसी डॉक्यूमैंट्री और मालेगांव के उन नौजवानों की ज़िंदगी पर डायरेक्टर रीमा कागती यह फिल्म ‘सुपरबॉयज़ ऑफ मालेगांव’ लेकर आई हैं। ‘सुपरबॉयज़ ऑफ मालेगांव’ कुछ ऐसे नौजवानों की ज़िंदगी दिखाती है जो फोटो स्टूडियो, दुकानदारी, कपड़े की मिल आदि में काम करते हुए रुटीन ज़िंदगी जी रहे हैं लेकिन कुछ अलग, कुछ बड़ा करने की चाहत इन्हें फिल्म-निर्माण की तरफ ले जाती है। कामयाबी मिलने के बाद रिश्तों में दूरियां आती हैं तो मुश्किल वक्त इन्हें फिर से करीब भी ले आता है।