Kill is not the product of any fashionable blood-spilling but a culmination of its ancestral depiction of violence on the big screen.
A recent action-thriller that seems to have taken Hindi cinema by storm, Kill, directed by Nikhil Nagesh Bhat, has sparked intense discussions across social media platforms. Its violent themes and menacing portrayals have ignited debates, with some calling it “the most violent film ever produced in India” and others delving into questions about “audience morality” and the “larger implications of the film on society.”
The thrill of watching a power-packed action sequence, with a rugged hero saving people’s lives along with a catchy soundtrack being played in the background might be an arousing and rejuvenating experience for the audience. The thrill of imagining oneself in an invigorating scene and escaping from the reality of a mundane life might be one of the reasons behind the much-appreciated action films.
Kill: A New Benchmark in Violence
If we unravel the plot of the story, it becomes apparent that the film is quite simple and predictable. Amrit, played by Lakshya, is an NSG Commando planning to elope with his love interest Tulika, portrayed by Tanya. Tulika is being forced into an arranged marriage by her influential businessman father. At first glance, the film appears to be a harmless romance with a charming lead pair. However, as the night progresses, darkness engulfs the train’s coaches.
Forty dacoits, led by Fani (played by Raghav Juyal), board the coach where Amrit and Viresh (played by Abhishek Chauhan, also an NSG Commando) are seated. Unaware of the presence of two trained commandos, the dacoits begin looting the passengers but soon find themselves outnumbered and brutally slaughtered by the two men. What begins as a fight for peace quickly becomes a deeply personal war for Amrit.
Kill was released on 5th July 2024 and went on to have a total box office collection of Rs. 47.12 crore against a budget of 40 crores. Kill was also well-received by the critics garnering 89% positive reviews on Rotten Tomatoes. Adding to the film’s influence, Kill’s rights were purchased by Chad Stahelski’s Company, the producer of the famous John Wick movies. However, to understand the violence in Kill, one must realize that it is not born out of trendy bloodthirst or voyeuristic sensationalism. It is a culmination of ancestral portrayals of violence in cinema.
ANGRY YOUNG MAN FEVER
Violence and Indian cinema share a long history. The emergence of the “angry young man” phenomenon in the 70s and 80s marked a turning point, with protagonists fighting against a lethargic bureaucratic system, empathizing with the poor, and despising the rich. This era coincided with the period of emergency in India when people struggled to make ends meet and were largely dissatisfied with their government.
The socio-political situation gave rise to the righteous “angry young man” who took the law into his own hands, often wielding guns and knives. Zanjeer, directed by Prakash Mehra, is a prime example of this phenomenon. This popular trope soon evolved into a classic, paving the way for new-age violent figures with meaningful purposes but tilted morals.
THE GODFATHER TRILOGY
Violence has not only been a tricky subject in Indian cinema but has also had a complex history in Western cinema.
One of the most iconic creations of the 70s, The Godfather trilogy, based on the Corleone family, explores intricate themes of greed, loyalty, and power within a mafia family. The film is interwoven with sophisticated violence and a thrilling mafia narrative, making it timeless.
This trilogy inspired Indian filmmakers like Ram Gopal Verma and Bharathan to create films such as Sarkar and Thevar Magan (a Tamil-language film), respectively. Both films are violent and disturbing in their unique ways. The Godfather’s theme of a reluctant son ascending the throne to avenge his family’s honor has been paid homage to time and again, revolutionizing storytelling in cinema.
TOLLYWOOD IS NO DIFFERENT
The 2008 Tamil gangster drama Subramaniapuram, directed by debutant Sasikumar, depicted crude murder scenes steeped in cold vengeance. The film was a massive hit among the masses, changing the perception of violence in Tamil cinema.
Anurag Kashyap cited it as inspiration for his iconic gangster franchise Gangs of Wasseypur (2012), which opened doors to cult cinema. Small-town stories gained prominence, attracting audiences with their honest depiction of commoners’ lives intertwined with brutal violence.
VANGA’S ERA
In 2017, Sandeep Reddy Vanga introduced a new brand of violence and brutality on screen with his debut movie Arjun Reddy, featuring Vijay Deverakonda in the lead role. This film was later remade in Hindi as Kabir Singh (2019), starring Shahid Kapoor.
Kabir Singh is portrayed as a possessive and dominating surgeon who falls in love with his junior, Preeti, in medical college. What makes the film distinct is its unapologetic protagonist. Though Kabir embodies dysfunction and nastiness, the film glorifies the overarching theme of true love conquering all.
Vanga’s second film, Animal (2023), starring Ranbir Kapoor, takes violence to new extremes. The bloodbath is thrilling and desirable, amplified by the catchy background score Arjan Vailly, sung like a war cry. It pumps up the audience, making the action scenes extraordinary.
TARANTINO’S CINEMA
While Vanga’s style is noteworthy, Quentin Tarantino remains a pioneer in pairing action with seamless music. Pulp Fiction (1994), directed by Tarantino, pushed independent cinema to its peak, making Uma Thurman and John Travolta household names and cementing Tarantino’s legacy.
Tarantino faced heavy criticism for the relentless violence in his films, to which he famously responded, “Because it’s so much fun, Jan.” His soundtracks—an eclectic mix of American rock and roll, surf music, pop, and soul—have inspired directors worldwide.
BACK TO SQUARE ONE
The action in Kill is choreographed by Parvez Shaikh (War and Fighter) and Se-yeong Oh, who also worked on the American series Snowpiercer. Much of the film’s intense action is set on a train, reminiscent of Snowpiercer’s claustrophobic and high-stakes environment.
Kill is not the first and certainly won’t be the last film to explore such violent territory. But its unapologetic depiction of violence, coupled with its ancestral cinematic influences, sets it apart as a significant marker in Indian cinema’s evolving narrative.
The debates about the boundaries of violence and its implications on society will simultaneously make rounds, it is critical for the audience to view cinema as a mode of entertainment and not as a moral compass of society, on the other hand, it is equally the responsibility of the filmmakers to consciously minimize the glorification of violence in cinema.