I watched it for the first time at the end of the 1980's, right after its first release as a videotape in Egypt. I remember being dazzled. The presence of Shahenshah's character was too captivating. The cinematic halo around it did move us greatly; from the framed appearance in the dark, and the frightful high breath, to the strange outfit, and the white hair. At the moment, I put it on my list of Amitabh Bachchan's best 10 movies, which already had (Amar Akbar Anthony - 1977), (Coolie - 1983) and (Mard - 1985). Over the years, my memory didn't hold well all the events, but I loved the Zorro theme; where there are 2 faces for the lead; one as a clumsy coward that he has to wear in daylight (Vijay), then another one as the public hero at night (Shahenshah). And I kept talking to everybody about how marvelous the climax was. The sight of Amrish Puri hanged in the courtroom, after some action, left me speechless for years.
After 20 years, I re-watched it. I found the plot a real coherent except for some minor problems; how the old witness, who has the only proof that the lead's father was innocent, kept the tape which convicts the bad guys for all of these years unused?, How the lead knew about it?, Why to tape this conversation in the first place? And when the police did arrest the framed inspector, why he didn't ask them to search the room; where sure the real tape was present??? Unlike Zorro, Batman, Superman and whatever any other 2-faced heroes, it would have been better, and more mysterious, if we were left to ask for some time what the real identity of Shahenshah was? Meenakshi Shesadri is supposed to be a poor pickpocket, while wearing flashy dresses and short shorts, doing nothing but singing and dancing in the streets! Simply she was a pure image of the commercial Indian movie's heroine more than a character. Some matters ran randomly near the end; Bachchan didn't have the appropriate time to change his character, the matter of the bloody newspaper was cheesy, and the worst of all was how the bad guy's assassins wore one uniform!
But it got its merits. Shahenshah's characterization was inspiring, with fine background, and special designing with the rope, the bulletproof arm, the leather outfit, the haircut, not to mention the gritty tone. Then, there is a slight metaphor in the story; whereas the law is as corrupted and helpless as Vijay, and it needs not only more idealism and carriage to be effective. In fact, what it desperately needs is a ruthless power, or in other words; a vigilante of a good hero who executes justice by his bare hands.
The direction delivered a fair show. The editing with the script made a tight pace, despite the running time (182 minutes). There weren't the countless far coincidences, "lost and found" stuff, or exaggerated acting. There is plenty of catchy lines: "The moon can't fix its deformities by itself" about how justice is in the need of help to be perfect, "I need a knife to cut the name of your father off your own disgraceful one", and "The officer's suit wasn't enough", along with the lead's loud speech at the end, in which he kind of demands from the law's enforcers - out of the movie - to be partly a Shahenshah against the criminals, and in front of the rotten policemen and politicians too.
The all star cast managed to be memorable. The script gave them images of stereotypes, and as character-actors they were stars. Just put Amrish Puri, Pran, Kader Khan, and Prem Chopra together in anything, and it'll be a hit, or - in the worst cases - a must-watch assembly. Meenakshi Sheshadri was the dream girl of the show, radiating freshness for all the time. As another review referred; Bachchan was the betel-chewing idiot, and the angry young man again, after being both in many previous movies such as (Don - 1978). However, he did it brilliantly, investing the 2 personas in creative way. And when it comes to the title's role, then I must be that dazzled kid once more and maybe forever. The charisma of the big B looked like a thunderstorm as that savior. He was larger than life, raising many eyebrows while walking, talking, or his decisive dealing with the baddies.
No doubts that (Shahenshah) was a peak for Bachchan of the 1980s. Because things wouldn't be in the right track for him after it. He would do the infamous (Gangaa Jamunaa Saraswathi) and (Toofan). Then his popularity would run low. And in no time, 1992, he would retire from acting again, but not for politics like what he did 3 years before Shahenshah. I believe this time wasn't for resting and restudying matters wisely, it was rather for understanding more the dilemma of his speedily advancing age (if you noticed, Vijay was supposed to be a 20-something man, but Bachchan was 46!). Of course it was tough enough for India's top star, and most famous angry "young" man, to move on to another stage, and type of roles.
It's a combination of fine storyline, good cast, and lovable star, having action, and satire more than melodrama. But while being a peak, it's not the peak. Nevertheless, it vanquished its own problems, proofing itself as a 1988's hit. Plus it is a classic in my book; after 2 decades it's still watchable and distinct. If anybody ever forgot this awesome knight with his shinning armor, smashing walls by the evil guys' bodies, while the impassioned theme song is on--then he, or she, must be one ungrateful person!
After 20 years, I re-watched it. I found the plot a real coherent except for some minor problems; how the old witness, who has the only proof that the lead's father was innocent, kept the tape which convicts the bad guys for all of these years unused?, How the lead knew about it?, Why to tape this conversation in the first place? And when the police did arrest the framed inspector, why he didn't ask them to search the room; where sure the real tape was present??? Unlike Zorro, Batman, Superman and whatever any other 2-faced heroes, it would have been better, and more mysterious, if we were left to ask for some time what the real identity of Shahenshah was? Meenakshi Shesadri is supposed to be a poor pickpocket, while wearing flashy dresses and short shorts, doing nothing but singing and dancing in the streets! Simply she was a pure image of the commercial Indian movie's heroine more than a character. Some matters ran randomly near the end; Bachchan didn't have the appropriate time to change his character, the matter of the bloody newspaper was cheesy, and the worst of all was how the bad guy's assassins wore one uniform!
But it got its merits. Shahenshah's characterization was inspiring, with fine background, and special designing with the rope, the bulletproof arm, the leather outfit, the haircut, not to mention the gritty tone. Then, there is a slight metaphor in the story; whereas the law is as corrupted and helpless as Vijay, and it needs not only more idealism and carriage to be effective. In fact, what it desperately needs is a ruthless power, or in other words; a vigilante of a good hero who executes justice by his bare hands.
The direction delivered a fair show. The editing with the script made a tight pace, despite the running time (182 minutes). There weren't the countless far coincidences, "lost and found" stuff, or exaggerated acting. There is plenty of catchy lines: "The moon can't fix its deformities by itself" about how justice is in the need of help to be perfect, "I need a knife to cut the name of your father off your own disgraceful one", and "The officer's suit wasn't enough", along with the lead's loud speech at the end, in which he kind of demands from the law's enforcers - out of the movie - to be partly a Shahenshah against the criminals, and in front of the rotten policemen and politicians too.
The all star cast managed to be memorable. The script gave them images of stereotypes, and as character-actors they were stars. Just put Amrish Puri, Pran, Kader Khan, and Prem Chopra together in anything, and it'll be a hit, or - in the worst cases - a must-watch assembly. Meenakshi Sheshadri was the dream girl of the show, radiating freshness for all the time. As another review referred; Bachchan was the betel-chewing idiot, and the angry young man again, after being both in many previous movies such as (Don - 1978). However, he did it brilliantly, investing the 2 personas in creative way. And when it comes to the title's role, then I must be that dazzled kid once more and maybe forever. The charisma of the big B looked like a thunderstorm as that savior. He was larger than life, raising many eyebrows while walking, talking, or his decisive dealing with the baddies.
No doubts that (Shahenshah) was a peak for Bachchan of the 1980s. Because things wouldn't be in the right track for him after it. He would do the infamous (Gangaa Jamunaa Saraswathi) and (Toofan). Then his popularity would run low. And in no time, 1992, he would retire from acting again, but not for politics like what he did 3 years before Shahenshah. I believe this time wasn't for resting and restudying matters wisely, it was rather for understanding more the dilemma of his speedily advancing age (if you noticed, Vijay was supposed to be a 20-something man, but Bachchan was 46!). Of course it was tough enough for India's top star, and most famous angry "young" man, to move on to another stage, and type of roles.
It's a combination of fine storyline, good cast, and lovable star, having action, and satire more than melodrama. But while being a peak, it's not the peak. Nevertheless, it vanquished its own problems, proofing itself as a 1988's hit. Plus it is a classic in my book; after 2 decades it's still watchable and distinct. If anybody ever forgot this awesome knight with his shinning armor, smashing walls by the evil guys' bodies, while the impassioned theme song is on--then he, or she, must be one ungrateful person!