In the realm of Indian cinema, the name Sandeep Reddy Vanga has become synonymous with controversy, critique, and unorthodox storytelling. Renowned for his unapologetic approach in crafting protagonists, here too in his upcoming ‘Animal,’ that defy conventional molds, Vanga has managed to stir conversations and push the boundaries of character portrayal, refusing to conform to the checkboxes of critics.
Vanga’s audacious storytelling was notably evident in his 2017 directorial debut, ‘Arjun Reddy,’ a film that catapulted him into the spotlight. The film’s titular character, played by Vijay Deverakonda, was a flawed, intense, and emotionally charged individual whose portrayal raised eyebrows and divided opinions. Critics were quick to highlight the character’s perceived toxic masculinity and problematic behavior, creating a wave of both admiration and disapproval.
Defying Critics’ Expectations in Character Portrayal
However, Vanga stood firm in his portrayal, unyielding in his vision to present an unfiltered narrative that delved deep into the complexities of human nature. Instead of conforming to the demands of conventional character arcs, he presented a raw, unvarnished version of Arjun Reddy, flaws and all, daring audiences to confront the uncomfortable realities that often lie beneath the surface.
Following the polarizing success of ‘Arjun Reddy,’ Vanga ventured into Bollywood with ‘Kabir Singh,’ a remake of his Telugu blockbuster. The film, starring Shahid Kapoor in the titular role, traversed similar thematic territory, exploring the tumultuous journey of a deeply flawed character navigating love, heartbreak, and personal demons. Once again, Vanga’s audacity in portraying a protagonist unapologetically flawed drew both acclaim and criticism.
Critics were divided in their assessment of ‘Kabir Singh,’ with some hailing it as a bold and unflinching portrayal of human frailty while others condemned its portrayal of toxic masculinity. Yet, amidst the critical cacophony, Vanga remained steadfast in his narrative choices, refusing to dilute the essence of the character to appease societal expectations or fit into a sanitized portrayal of heroism.
Now, as anticipation builds for Vanga’s upcoming film ‘Animal,’ starring Ranbir Kapoor, glimpses into the teaser hint at Vanga continuing his signature style of storytelling. The teaser, featuring Ranbir Kapoor’s character reciting verses by Kabir against a backdrop of impending violence, offers a glimpse into Vanga’s unapologetic approach in infusing depth and complexity into his protagonists.
The use of profound poetry juxtaposed against moments of intense action and inner turmoil hints at the director’s penchant for weaving layers of depth into his narratives. However, as with his previous works, this bold storytelling approach might once again invite scrutiny and polarized opinions from critics and audiences alike.
What sets Sandeep Reddy Vanga apart is his refusal to conform to the standard templates of heroism. His protagonists are imperfect, raw, and oftentimes morally ambiguous, inviting discomfort and introspection in equal measure. While critics may continue to grapple with the ethical implications of his character portrayals, Vanga’s unapologetic stance in presenting flawed yet compelling protagonists challenges the audience to confront the complexities of human nature without seeking easy resolutions or moral absolutes.
In a cinematic landscape that often leans towards portraying heroes as flawless paragons of virtue, Vanga’s relentless commitment to crafting characters without adhering to predefined checkboxes is a testament to his dedication to authentic storytelling. Love him or criticize him, Sandeep Reddy Vanga remains an auteur unafraid to tread the untrodden path, leaving an indelible mark on the canvas of Indian cinema with his unapologetic narratives.
Unpacking Masculinity and Toxicity in ‘Animal’
In the recent teaser of Sandeep Reddy Vanga’s highly anticipated film ‘Animal,’ the character portrayed by Ranbir Kapoor recites a couplet by Kabir, setting a mood juxtaposed against an impending moment of mass violence. The verse, “Bura jo dekhan mai gaya, bura na miliyiya koyi, jab mai aapo dekheya, mujhse bura na koi” (When I sought to find evil in others, I found none. Yet, upon introspection, I discovered the presence of evil within myself), carries an unexpected weight when aligned with the themes of Vanga’s narratives. This parallel is not new; his earlier work ‘Kabir Singh’ similarly appropriated verses from Kabir and Khusrau, but with a twist that skews their essence.
At the heart of Bhakti and Sufi traditions lies an ethos advocating self-discovery and surrender to a higher power, a love that transcends human limitations. These verses, emblematic of tenderness and spiritual devotion, take on different hues in Vanga’s portrayal, diverging significantly from their original intent. While poets like Kabir exhibit a feminine tenderness in surrendering to the divine, Vanga’s protagonists often embody toxic traits, far removed from the humility and compassion espoused in these verses.
‘Kabir Singh,’ for instance, begins with the premise of boundless love but descends into a narrative entwined with hyper-masculine ideals. The protagonist exerts dominance over his partner, curbing her agency and reality to suit his desires. This stark deviation from the spirit of Bhakti poetry reveals an incongruence; the ethos of Kabir Singh clashes diametrically with the teachings of Sant Kabir. Should Kabir Singh internalize the essence of Bhakti poetry, his character would inevitably transform.
In ‘Animal,’ Vanga seems to amplify alpha male tendencies, twisting the couplet’s meaning to exude boastfulness rather than humility. The essence of Kabir’s intent is lost, replaced by the unleashed inner violence of the character Arjun Singh (portrayed by Ranbir Kapoor). The discomfort arises from the lack of resonance between the poets’ intentions and Vanga’s interpretation. The verses fail to enrich the themes; instead, they exacerbate toxic masculinity, deviating from their inherent richness.
Final Words
The sincerity in associating hyper-violent meanings with revered folk poetry remains paradoxical in Vanga’s approach. The sacrificial nature of Khusrau’s devotion takes a superficially toxic turn in ‘Kabir Singh,’ perpetuating a cycle that reinforces aggressive behavior. The original intent of the verses, buried beneath Vanga’s lens, loses its profound essence. The appropriation of Bhakti and Sufi verses in Vanga’s narratives amplifies toxic masculinity rather than conveying their intended spiritual and tender nuances. The dissonance between the director’s portrayal and the poets’ original ethos raises poignant questions about the interpretation of art and the peril of distorting revered verses to fit narrative arcs rooted in toxicity and aggression.
Before leaving, have a look at the ‘Animal’ trailer:
