Sankalp Review: Nana Patekar handles the series, weak storytelling spoils the game of 'Sankalp'

News Topical, Digital Desk : In Indian history, the relationship between Chanakya and Chandragupta is considered one of the most unbreakable and historic relationships of guru-disciple, mentor-mentee, and diplomat-emperor. Chanakya recognized the talent of an ordinary boy, Chandragupta, and educated him in Takshashila. Through his policies of fair play (Sama-Daan-Dand-Bhed), he defeated the tyrannical King Dhanananda and established the Maurya Empire. The story of the web series "Sankalp" also appears to be inspired by this concept of guru-disciple relationship.

What is the story of the film?

The story revolves around Kanhaiyalal, also known as "Maat Saab" (Nana Patekar), the head of a Gurukul situated on the banks of the Ganges River in Patna. At the Gurukul, Maat Saab cultivates intellectually sharp and talented students who later become influential bureaucrats. The problem arises when his favorite student, SP Aditya Verma (Mohammad Zeeshan Ayyub), becomes his rival. As the story travels back and forth between Delhi and Patna, Kanhaiyalal's political conflict escalates with Delhi Chief Minister Prashant Singh (Sanjay Kapoor) and his strategist Waqar (Neeraj Kabi).

Maat Saheb's trusted police officers, Parveen Shaikh (Kubra Sait) and Vasudev (Saurabh Goel), accompany him during the conflict. As the conflict escalates, old betrayals, ideological differences, and ambitions for power begin to surface. The series explores the guru-disciple relationship, the underlying ambitions, and the underlying politics and selfishness

Direction, Storytelling and Story

Director Prakash Jha returns with Sankalp, this time with new players on the political chessboard. Reshunath's script attempts to depict the corridors of power, but the politics of kingmakers and rebellious disciples feels clichéd in many places within the web series format.

The world created around issues like fake ATM notes, freebies for winning elections, corruption, and student politics sometimes feels dull. The game of checkmate to remove Prashant and Waqar from power fails to create an engaging narrative. The visual structure of this ten-episode series also lacks the desired novelty, which impacts its interest.

Prashant occasionally asks, "What's going on?" This question arises in the audience's minds, as many subplots feel incomplete. The female characters also lack strong support roles. However, cinematographer Chandan Kovali's work is commendable. Advait Nemlekar's music is in keeping with the plot.

Shortcomings in writing

However, in the film, Nana Patekar, who plays a quiet, behind-the-scenes strategist who controls power, seems to further that image. At one point, Nana's character shouts the slogan, "Leave the throne, the public is coming." Prakash Jha evokes the memory of Loknayak Jayaprakash Narayan, who, in the 1970s, created a new political generation against the Congress party, many of whose leaders remain active today.

Here, Maat Saab serves the same purpose at the center of bureaucracy. However, Nana Patekar carries the series' weight with ease. He's supported by the rest of the cast, but the weak writing limits his potential. The show's ending hints at a second season.

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