Written by Varun Grover, one of the things that works straight away in Superboys Of Malegaon is its setting. Malegaon is one of those few Muslim-dominated specks on the map that have their own beautiful world to boast of. The sleepy town in the film doesn’t quite boast of a proper theatre – instead, it has a video parlour illegally playing films which in hindsight remain pleasant memories for most kids like me who have grown up in the 90s. But the setting also doubles up as a social commentary wherein the only source of escape for people from their busy lives remains the little video parlour that houses a variety of films for them at a cheap rate. Within the proximity of the setting is the start of a dream that eventually engulfs into a purpose for one of the characters. Nasir (Adarsh Gourav) may well be a completely unknown identity in a city like Mumbai who would be the alternate home for many such Nasirs doing the rounds. But the beautiful of Malegaon being that Nasir gets to be the ‘Yash Chopra’ of his land, who along with his bandwagon, soon decides to film parodies centered around his town while taking baby steps towards achieving his dream that would soon be skewed with obstacles.

The detailing lies in its era too – the late 90s boast of CDs to a character donning a hairstyle to resemble Sanjay Dutt, and another character dancing to a song of the 90s diva. The strongest aspect of the writing remains the characterization. One look at Nasir, and you just know his love for films that sees him compile action sequences from a variety of films, and eventually conjoin them into a film of his own. You also figure the meta-commentary in his love-life that resembles a 90s romance only to end with a heartbreak. There is a reference of Buston Keaton, a famous director of silent films that couldn’t initially adapt to the new era of filmmaking while being sent to a mental house, only for him to escape and make the best film of his life. Somewhere, the character arc of Nasir is similar to that of Keaton, starting with parody films, losing his way only to return with his best work yet!

Elsewhere, you are introduced to the character of Farogh (Vineet Kumar Singh), a budding writer who has a similar journey as that of Nasir. You see Farogh’s inclination towards something meaningful initially, before surrendering to the vision of Nasir (the filmmaker) and resorting to a parody on Sholay, titled Malegaon Ki Sholay. The cinematic commentary is triggered through his character wherein he witnesses a ‘smoking’ segment being incorporated in his film (a brilliant take on the anti-smoking ads and flashes that dilute every scene in India), that he immediately disdains. In an important scene, he showers his anger on Nasir citing the facts that writer remains the boss (a harsh reality that is forgotten in today’s times). And yet, his tryst with a city like Mumbai in search of work is a reminder to him on how he continues to be a nobody outside the proximity of Malegaon, much like Nasir with whom he distances himself from. You are also introduced to characters like Akram (Anuj Singh Duhan), Aleem (Pallav Singgh) and Irfan (Saqib Ayub) who may seem to be like ‘strugglers’ doing the rounds in Aram Nagar, Versova but have their individual identities in their hometown. Even a character like Trupti (Manjiri Pupala) has her tryst with cinema almost in the form of escapism from her abusive husband, while silently withholding her dream of aspiring to see herself on the silver screen.

This is where the character of Shafique (Shashank Arora) stands out. He is the first person to buy into the idea of Nasir making films, silently aspiring to be an actor himself. Yet, he is the easiest to sideline in the group particularly with respect to his physique that could easily make him disappear amidst the crowd. The closest tryst with acting transpires early in the film, almost getting ready to audition in front of camera before the role is snatched away by a late entrant to the scene. But you do get to see his passion for cinema, also wishing to contribute in any form, be it behind the scenes while helping out Nasir, or even doubling up as an ‘extra’ onscreen at a later point. Shafique is someone who always sees the positive side, never once being bitter with Nasir for chopping his role in a scene while retorting instead, on how Nasir remains a life-savior for the people of his hometown emphasizing on his contributions more than his losses. His equation with Nasir remains firm, even when others feel threatened by Nasir’s rise to fame. And ironically, Shafique also heartbreakingly remains the reason why the group reunites for a final crackdown featuring him!

The genre of a film within a film is one of those ever-lasting romantic genres that you cannot be out of love with. And that typically remains the core of the drama here. The lesser details essentially form the fabric of filmmaking here, even as the saying goes that it takes a village to actually make a film. In a scene, you see a doctor being offered a role to which he readily agrees signifying that he may have flamed a dream of becoming an actor once upon a time. You are also witness to Shabeena (Muskkaan Jaferi) having married Nasir (after his heartbreak), who funds his film only to request for the mantle of a producer in return. You also get to witness Shafique staring at an airplane calmly flying against the blue sky, signifying his dream to fly that says so much about unfulfilled aspirations (at that specific moment in the film). Keeping that in mind, the title of the film ‘Supermen Of Malegaon’ that Nasir chooses to make actually makes sense. While it depicts Shafique on his last leg in life and still getting to flaunt his ‘superpower’ of flying at the end, even as the others witness in awe of magic unfolding in front of them (probably one last time together), you just know that the film has already won at the end of the day. It has transcended beyond the realms of a parody while leaving an ever-lasting imprint on celluloid that would keep the characters of Malegaon alive for years to come (painstakingly Shafique and Farogh aren’t with us at this very moment). The screenplay is a brilliant love-letter to filmmaking that highlights a crucial fact that everyone is a filmmaker by heart, and cinema is medium for me to have met you through this review!