Superboys of Malegaon
Rating – **** (4/5)
Cast: Adarsh Gourav, Shashank Arora, Vineet Kumar Singh, Saqib Ayub, Muskkan Jaferi, Manjiri Pupula & more
Directed by: Reema Kagti
Produced by: Ritesh Sidhwani, Farhan Akhtar, Zoya Akhtar, Reema Kagti
Written by: Varun Grover & Reema Kagti
In theaters, 28th February, 2025
There is an inexplicable charm to films about filmmaking—an inherent purity that transcends genre, style, and even intent. Whether through parody, satire, or an unfiltered, sincere portrayal, such narratives often offer a profound reflection on the art itself. The beauty lies in the conviction, in the dedication to storytelling that supersedes commercial ambitions or logistical feasibility. Reema Kagti’s Superboys of Malegaon stands as a testament to this very conviction, seamlessly straddling both worlds—embracing the humor in filmmaking’s idiosyncrasies while delivering an earnest tribute to cinema’s rawest essence.
Conviction is a fascinating thing—it’s often misrepresented as the stronghold of commercial filmmaking, the backbone of grand spectacles that defy logic but sell dreams. Yet, it manifests even more strikingly in intimate narratives, in the pursuit of passion against insurmountable odds. Superboys of Malegaon captures this spirit through the story of a few young dreamers navigating the treacherous intersection of ambition and reality.
It’s a reminder that life rarely adheres to the scripts we write for ourselves, but in that unpredictability lies a different kind of magic. And that magic, much like cinema itself, is always worth chasing.
Nasir (Adarsh Gourav) is one such dreamer—aspirational, relentless, and, in many ways, delusionally optimistic. His journey, intertwined with his friends Farogh (Vineet Kumar Singh), a poet and writer, and Shafique (Shashank Arora), an aspiring actor, unfolds in an environment where cinema isn’t just entertainment—it’s sustenance. The trio embodies the ethos of grassroots filmmaking, where ingenuity and necessity dictate creative choices.
Their makeshift endeavors, whether editing VCR tapes into digestible, pirated collages or attempting to monetize their passion, are not just means to an end but reflections of a community’s love for storytelling. However, as with all creative pursuits, conflicts arise, friendships fracture, and dreams remain in limbo until fate reunites them under one shared vision—to make a film that is pure, unadulterated, and deeply personal.
It’s here that writer Varun Grover’s genius truly shines. With razor-sharp dialogue that never meanders into grandiose monologues or overt social commentary, he crafts a screenplay that subtly embeds itself within the underbelly of filmmaking—whether in Malegaon or in the bustling metropolises of today. Grover, in many ways, speaks through Farogh, his words tinged with a perceptible angst that culminates in the searing line: “Writer baap hota hai, writer!” The sheer weight of that moment, the frustration of being perpetually undervalued, echoes through time, making it as relevant today as it was decades ago.
Yet, what makes Superboys of Malegaon truly spectacular is its refusal to descend into mere satire or melodrama. Instead, Kagti infuses humor, camaraderie, and a deep respect for human emotion, ensuring that even the film’s sharpest observations never feel like pointed jabs but rather affectionate nudges. It’s a delicate balancing act—one that few filmmakers manage with such finesse.
Kagti, whose oeuvre ranges from the slow-burning intensity of Dahaad to the heartwarming brilliance of this film, proves once again that she is a storyteller of immense range. Alongside cinematographers Swapnil S. Sonawane and Parnil Vishwasrao, she crafts a visual tapestry that oscillates between hope and hardship, never compromising on immersive storytelling. That’s the true challenge of a biopic—not letting the weight of reality stifle the organic rhythm of a narrative. When a film transcends the boundaries of being about someone and instead becomes an entity of its own, you know it has succeeded. Kagti accomplishes precisely this, ensuring that Superboys of Malegaon isn’t just a biopic—it’s a movement. Furthermore, Kagti also makes sure to not just write and present the female characters for the sake of it – even with the brief roles both Manjiri Pupula and Muskkan Jaferi get significant character arcs that lend themselves to the plot in a seamless manner.
Of course, none of this would be possible without the powerhouse performances at its core. Adarsh Gourav, Shashank Arora, and Vineet Kumar Singh deliver spellbinding portrayals, embodying the heartbreak and exhilaration of their characters with such authenticity that you forget you’re watching a film. It’s almost poetic that these actors—so often labeled as underrated—are the very embodiment of the struggle they portray on screen. They are the industry’s superboys, fighting battles that should have long been won.
Ultimately, Superboys of Malegaon is more than a rags-to-riches or failure-to-success narrative. It doesn’t indulge in convenient tropes of triumph or closure. Instead, it exists in a space that feels paradoxically complete despite its inherent incompleteness—hopeful, even when the rewards remain elusive. It’s a reminder that life rarely adheres to the scripts we write for ourselves, but in that unpredictability lies a different kind of magic. And that magic, much like cinema itself, is always worth chasing.
