A review by Indicinephile
Rating: 7.2/10
Director: Pulkit
Genre: Political Drama / Crime Thriller
Release Year: 2025
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Rajkummar rao new movie 2024 is Maalik. It captures the conflicts of power, morality, and identity with honesty—even if that truth is uncomfortable. Maalik, directed by Pulkit, stands as a bold cinematic exploration of political corruption, personal ambition, and the murky boundary between justice and revenge. With its sharp storytelling and grounded performances, Maalik delivers an engaging narrative that may not be flawless, but certainly feels urgent and relevant.
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Plot Summary
Maalik tells the story of Raghav Sinha, an orphan from the slums of Kaliganj who rises through the ranks of both the criminal underworld and the political sphere. As a young man, Raghav is driven by a desire for justice after witnessing the violent death of his adoptive father. But what begins as a crusade for fairness soon spirals into a quest for dominance, blurring his motives as he gains influence.
The film oscillates between Raghav’s rise to power and his eventual internal reckoning. Along the way, he is shaped by political alliances, personal betrayals, and a deep desire to protect his community—even if that protection comes at a moral cost. When the empire he's built begins to crumble from within, Raghav is forced to ask: Is he a protector, a tyrant, or both?
Performances That Anchor the Story
One of Maalik's greatest strengths is its cast. The performances breathe authenticity into the script, elevating even the film’s slower sequences.
Arjun Rampal gives a brooding and contemplative performance as Raghav. He brings emotional weight to the role, portraying a man who is both a feared political figure and a deeply conflicted human being. His portrayal is understated, marked by silences as much as by explosive monologues.
Radhika Apte, as Raghav’s wife and conscience, offers a quietly powerful performance. Her character is not merely a supportive spouse but a moral force in the narrative. She challenges Raghav when others fear him, and her scenes offer some of the film's most emotionally resonant moments.
Pankaj Tripathi, playing the manipulative political leader Devkaran Mishra, is another standout. With his signature subtle menace and dry delivery, Tripathi crafts a character who is both charming and dangerous. He serves as a narrative foil to Raghav—equally ruthless, but far less burdened by guilt.
Supporting performances from actors like Anupriya Goenka and Rajesh Tailang round out the ensemble well, giving the world of Maalik a layered and lived-in feel.
Direction and Vision
Pulkit, known for his indie sensibilities in films like Maroon and Bhavesh Joshi Superhero, steps into more mainstream territory with Maalik—but he does not abandon his thematic depth.
His direction emphasizes atmosphere, moral complexity, and political nuance. He resists the urge to spoon-feed the audience, allowing the story to unfold gradually, often relying on visual storytelling and symbolic framing. The pacing, especially in the first half, is deliberate, giving ample time to develop character motivations and thematic undertones.
There are definite influences from films like The Godfather and Gangs of Wasseypur, but Maalik finds its own voice through an Indian sociopolitical lens. It critiques the very system that enables its protagonist's rise while exploring the emotional toll of such a journey.
Screenplay and Writing
The screenplay, co-written by Pulkit and Sumit Arora, is ambitious. The dialogue is sharp and lyrical, often laced with political allegory and philosophical weight.
One standout line, “Raakh se uthi hui aag sabse zyada jalati hai” (The fire that rises from ashes burns the most), encapsulates the film's central conflict—how trauma shapes ambition, and how ambition can burn everything it touches.
The narrative structure, which toggles between timelines, is generally effective. However, the second half loses some of the tight control displayed earlier. As the story delves deeper into political strategy and betrayal, certain subplots feel underexplored or convoluted. The pacing suffers slightly, and a tighter edit could have helped maintain momentum.
Cinematography and Music
The visual tone of Maalik is consistent and atmospheric. Avinash Arun’s cinematography creates a bleak yet beautiful world. The fictional city of Kaliganj is shot with a grainy realism that enhances the story’s grounded tone. Long takes, low lighting, and moody frames all contribute to the emotional depth of the scenes.
Each location feels authentic—from the dusty bylanes of Kaliganj’s slums to the cold marble halls of political power. These contrasts mirror Raghav’s journey from poverty to control, and eventually to isolation.
The music, composed by Amit Trivedi, is sparse and understated, allowing the narrative space to breathe. Trivedi avoids melodrama and instead opts for subtle instrumentation, with recurring motifs that underscore the film’s emotional highs and lows. Songs like “Chalein Kahaan” stand out—not only for their lyrical quality but also for their organic integration into the plot.
Themes and Symbolism
Maalik is not simply a gangster drama. It is a meditation on power—how it corrupts, consumes, and isolates.
Power and Morality: Raghav's moral compromises become increasingly complex. Early on, his violence is portrayed as protective, even just. But as the story progresses, the line between necessity and brutality becomes harder to justify.
Loyalty and Betrayal: Every major relationship in the film is tested by loyalty. Whether it's friendship, family, or political allegiance, betrayal lurks around every corner. These betrayals are not just plot devices but emotional crucibles that shape character arcs.
Legacy and Identity: A recurring question haunts Raghav—what will he leave behind? The film refuses to offer easy answers, portraying legacy as both a burden and a consequence.
The film's title, Maalik (meaning "master" or "lord"), is itself an ironic commentary. Is Raghav truly in control, or is he merely another player in a rigged system?
Counterpoints and Criticism
While Maalik has been largely praised for its storytelling and performances, it is not without flaws—and some viewers may walk away with a more critical eye.
Pacing Issues: The first half is tightly constructed, but the second half loses focus. Extended political sequences, while realistic, slow down the momentum and might disengage audiences looking for a more linear or action-driven experience.
Moral Ambiguity: Raghav is portrayed as a tragic anti-hero, but some critics may argue that the film romanticizes his violence and downplays the damage he causes. Though the narrative offers moments of reckoning, they may not be enough to fully hold him accountable.
Emotional Detachment: For some, the film's cool, observational tone might create emotional distance. While the characters are complex, a deeper exploration of their inner worlds—especially in the second half—could have added more emotional resonance.
Despite these critiques, Maalik manages to provoke thought, challenge perspectives, and ignite conversation—an achievement few films in this genre manage to sustain.
Final Verdict
Maalik is a daring and thoughtful political thriller that walks a fine line between entertainment and introspection. It doesn’t offer clear heroes or villains, nor does it tie up its moral dilemmas with a neat bow. And that is its strength. It treats its audience with respect, trusting them to grapple with ambiguity and draw their own conclusions.
For viewers interested in layered storytelling, strong performances, and socio-political themes, Maalik offers a rich cinematic experience. It may not appeal to everyone—especially those looking for a fast-paced or feel-good film—but for those who engage with it, the film leaves a lasting impression.
Overall Rating: 7.2/10
Story: 7/10
Performances: 8.5/10
Direction: 8/10
Cinematography: 8/10
Music & Sound: 7.5/10
Editing & Pacing: 6.5/10
Rewatch Value: 6/10
Maalik may not claim perfection, but it certainly commands respect. It is a film that doesn’t just want to be watched—it wants to be considered.
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