Sanju

What stands out first about Sanju is the confidence with which Rajkumar Hirani establishes its comedy identity. Rather than relying on premise alone, Sanju asks Ranbir Kapoor and Paresh Rawal to supply personality from the opening stretch. The premise of Sanju is established with useful clarity: Biopic of the controversial life of actor Sanjay Dutt: his film career, jail sentence, and personal life. That direct approach lets Sanju use its 2h 35m running time for character, atmosphere and consequence.

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Rather than summarise every event in Sanju, it is enough to note how Biopic of the places Sanjay Dutt under growing pressure. Ranbir Kapoor gives that tension a face, which stops Sanju from becoming a mechanical sequence of developments. Abhiruchi Chand uses the central character to widen the stakes of Sanju without losing sight of the original problem. Where an important relationship becomes predictable, Sanju recovers interest through the consequences surrounding it.

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What Sanju has to say is rooted in embarrassment, status and the gap between confidence and reality. The experience of Ranbir Kapoor carries that question through Sanju without reducing the character to an example. An important relationship helps Sanju test the theme through consequence instead of explanation. When Rajkumar Hirani allows ambiguity to remain, Sanju becomes more involving than a simple statement of intent.

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Ranbir Kapoor approaches Sanju with a useful mixture of commitment and restraint, making the role feel inhabited. Paresh Rawal provides Sanju with an effective change of temperature whenever their character enters the scene. Even in limited space, Manisha Koirala gives Sanju another recognisable personality rather than a simple plot function. Rajkumar Hirani maintains a shared performance language across Sanju, which matters when tone or pace begins to shift.

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The directorial personality of Sanju comes from Rajkumar Hirani remaining controlled while retaining warmth when the premise invites excess. Within Sanju, Rajkumar Hirani repeatedly favours readable choices over attention seeking flourishes. That discipline explains why the strengths comfortably outweigh the small reservations in Sanju rather than appearing only in isolated scenes. Where Sanju becomes less convincing, a middle passage could be slightly leaner, and the loss of control is noticeable without becoming fatal.

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A close look at Sanju reveals how performer rhythm carries information that the dialogue wisely leaves alone. Under the production banner of Fluiidmask Studios, Sanju treats performer rhythm as part of its storytelling grammar. Comic timing built around character gives Sanju a stronger sense of place within its India context. The technical departments of Sanju remain coordinated, so polish supports involvement instead of creating distance.

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My final view is that Sanju provides one of the stronger examples of its form for comedy fans who respond to personality and timing. Ranbir Kapoor supplies the emotional memory of Sanju, while Rajkumar Hirani keeps the genre machinery readable. A concern remains because a middle passage could be slightly leaner across part of Sanju, yet the better passages retain their force. What earns Sanju consideration is not perfection but the presence of choices that feel made for this story.