Reader’s Review: An Insignificant Man – From Aam Aadmi to CM
Kejriwal’s story has everything – struggles, challenges, scams, mufflers, khaansi and Wagon R.
The story of An Insignificant Man is the product of a long-term project, which was pre-visualised in a brilliant way. It shows a certain time in history, which cannot be ignored – neither can it be repeated.
It’s like someone has put you in a time-machine and you hurtling with the mufflerman Arvind Kejriwal through Delhi streets. One of Indian politics' simplest trendsetters on and off the political field, Kejriwal's story has everything – struggles, challenges, scams, mufflers, khaansi and Wagon R. The movie confirmed its preconceived notion that it would be one-sided. So it is! But many interesting sub-stories have been left out.
It could've been tempting for filmmakers to delve into a lot of live footage, and the rights and wrongs of elections. But even amidst the thick foliage of footages, the documentary shows clarity of thought and a strong focus on the story of Kejriwal, who through his unflinching negotiation skills coupled with a very perceptive moral compass, pulls off a very important election win amidst hatred, mistreatment and non-cooperation from his own party members! The story just goes from one sketch to another.
The best part about the movie are the quirks – from smart flashbacks to character twists and the witty set-pieces. It brings the wit that made it light.
There are a plenty of wisecracks, some mother-son conversation, Arnab’s thrashing and politicians’ tomfoolery. It has got some interesting moments, such as Kejriwal watching Satyagraha in the theatre, or playing with his shirt out of nervousness when asked a question by reporters. There was Santosh Koli’s death, which tried to tug at the heartstrings of the audience, Sheila Dixit underestimating AAP as a serious competitor, Delhi election results! The euphoria post the victory, and the emotions of party workers and supporters are portrayed well in the film.
The movie doesn’t let the intensity die down and holds a mirror to modern-day journalism in India, which is loud, gauche, vociferous and supremely biased.
‘AIM’ is an evidence you cannot afford to miss – journalism sans sensationalism, embedded in a story-telling method and sticking to basic principles!
It is true when Ravish says that this film is last of one of it’s kind in India because after this, no political party would give such liberty and access to filmmakers. It happened because it was a new political party. Respect goes to the filmmakers for investing so much in one man's vision. Ultimately, the film is open-ended and does not emphasis on one ideology – that’s the beauty of it.
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