Starcast: Dharmendra, Sunny Deol, Sridevi, Juhi Chawla, Karan Kapoor, Shakti Kapoor and Amrish Puri Direction: Mukul Anand Music: Kalyanji A...
Starcast: Dharmendra, Sunny Deol, Sridevi, Juhi Chawla, Karan Kapoor, Shakti Kapoor and Amrish Puri
Direction: Mukul Anand
Music: Kalyanji Anandji
Mukul S. Anand's Sultanat released in April 1986, belongs to the particular tradition of larger-than-life filmmaking so popular in the 1980s. Featuring Dharmendra, Sunny Deol, Sridevi, Amrish Puri, Karan Kapoor and Juhi Chawla, this ambitious action-adventure drama attempted to recreate the magic of an Arabian Nights-inspired fantasy on the Indian screen. And while the film certainly had its moments, the final outcome is a rather uneven cinematic experience.
Set against the backdrop of a fictional Middle Eastern kingdom, Sultanat revolves around General Khalid (Dharmendra), a brave and loyal military commander who finds himself in conflict with the ruthless bandit leader Razoulli (Amrish Puri). Fate has its own say and Razoulli ends up raising Khalid's infant son as his own. The child grows up to become Sultan (Sunny Deol), a formidable warrior who knows nothing about his biological origins. Years later, circumstances bring Sultan and Khalid face to face, with both men unknowingly preparing to destroy their own flesh and blood.
Adding another dimension to this tale is Princess Yasmeen (Sridevi), whose romantic involvement with Sultan provides the film with its share of lighter and more conventional moments. Meanwhile, Khalid's younger son Samir (Karan Kapoor) and his romantic interest Zarina (Juhi Chawla) form another important part of the narrative.
The basic premise is certainly interesting. The idea of a father and son being manipulated by circumstances into becoming sworn enemies has considerable dramatic potential. Unfortunately, the screenplay doesn't always make the best use of this intriguing situation. The narrative takes its time establishing the various characters and their relationships, but once the central conflict gathers momentum, the proceedings become somewhat predictable. There are stretches when the film appears more interested in displaying its elaborate production design than moving the story forward.
However, one cannot accuse Mukul Anand of lacking ambition. Even at this relatively early stage of his career, there are glimpses of the visual flamboyance that would become one of his trademarks in films like Agneepath, Hum and Khuda Gawah. The grand settings, elaborate costumes, battle sequences and stylised presentation give Sultanat an unmistakably theatrical flavour. It has an almost comic-book quality, with larger-than-life characters inhabiting a fictional world where emotions are intense, loyalties are constantly tested and every confrontation seems to be a matter of life and death.
The casting is undoubtedly one of the film's biggest attractions. Dharmendra, with his commanding screen presence and effortless masculinity, is perfectly suited to the role of General Khalid. He brings a certain dignity to the character, although the screenplay doesn't offer him enough opportunities to explore its emotional complexities.
Sunny Deol, meanwhile, is energetic and physically convincing as Sultan. His action-oriented persona was already taking shape during this period, and the film gives him ample opportunities to display his strength and intensity. His confrontations with the antagonists are among the more entertaining portions of the film.
The real treat, however, is Sridevi. She looks absolutely gorgeous as Princess Yasmeen and brings her characteristic charm and spontaneity to the proceedings. Her presence adds some much-needed liveliness to an otherwise rather serious narrative. Amrish Puri is suitably menacing as Razoulli, although his character occasionally slips into familiar villainous territory. Shakti Kapoor, Tom Alter and Dalip Tahil provide able support.
Interestingly, Sultanat also introduced audiences to two newcomers who would subsequently become familiar names in Hindi cinema: Juhi Chawla and Karan Kapoor. Juhi has a refreshing screen presence, while Karan Kapoor, despite his striking, exotic looks, appears somewhat restrained and inexperienced. Their romantic track, unfortunately, doesn't leave much of an impression.
The music by the veteran duo Kalyanji-Anandji is another aspect worth discussing. Although the soundtrack doesn't quite reach the heights associated with some of their earlier work, it contributes to the film's overall atmosphere. The songs, composed in keeping with the film's exotic setting and romantic undertones, have their moments, but barring the beautifully composed Nazar Ne Nazar Se and the middle east flavored Jaanam Jaanu Jaaneman, others don't emerge as particularly memorable. The background score, on the other hand, does its job of sustaining the adventurous mood.
Technically, the film deserves appreciation for attempting something different from the conventional family dramas and contemporary action films of its time. Pravin Bhatt's cinematography captures the expansive sets and colourful production design reasonably well, while David Dhawan's editing keeps the narrative moving despite its occasional sluggishness.
Yet, the biggest problem with Sultanat is that its ambition frequently exceeds its storytelling capabilities. The emotional conflict at the heart of the film deserved greater attention, and the romantic subplots could have been handled with more finesse. The climax, too, could have delivered a much stronger emotional punch.
Despite its shortcomings, Sultanat remains an interesting chapter in the careers of several people associated with it. It brought Dharmendra and Sunny Deol together on screen for the first time, introduced Juhi Chawla to Hindi cinema and offered an early indication of Mukul Anand's fascination with spectacle and visual grandeur.
Was it a masterpiece? Certainly not. Was it an entertaining attempt at creating a grand adventure? Ofcourse, yes. Sultanat is an imperfect film, but one that deserves a watch for its fascinating casting, ambitious scale and nostalgic appeal. It may not have conquered the box office, but for admirers of 1980s Bollywood, it remains a curious cinematic time capsule.
By Ayushmaan Mitra
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