Rating: 3/5
Director Mahesh Manjrekar gives a solid treat to the fans of this genre, but suffers to some extent owing to containing too much

Not that the genre is fresh. But you still enjoy this. The reason is simple. Engaging, interesting and gives you gruelling adrenaline rush. You may seem the idea is far fetched and the maker has taken it a bit too far, but you are consumed by the world of crime. The Power scores on this sentiment. And while the world keeps you attracted, it also should not forget the boundaries of cinematic expression.

Watch the trailer here:


In a gangster family run by Kalidas (Mahesh Manjrekar), the bitter conflict arises in warring families. The victims are all- Kalidas’ sons Ramdas (Jisshu Sengupta) and Devidas (Vidyut Jamwal) along with the love of his life Parveen aka Pari (Shruti Hassan).



Written by Manjrekar, the story is layered and packs in much. However the problem arises when this much becomes a bit too much. The narrative is planned well, with an entire family history told to you in just 5mins of runtime. The execution here is impressive and you are instantly immersed. What is also likeable is that everybody (and mind you, the film has a lot of characters) is introduced quickly. No time is wasted in either setting up the love story or the conflict in the families or the people gone astray within the families.

The pace is fast for the most part of the film. And that is the most striking thing about the film and its treatment. You are always hooked to the swift and brisk play of the events. The story is always on the go, and even the breathers are thoughtfully written so be contributing to the scheme of the narrative.

It’s a story of crime, primarily. The Thakurs are invincible. And the rest of them all have to fall in line. But on the backdrop of it, lies loyalty, love, family issues, son-in-law and his quest to sit on the throne, friends who have been real aasteen ke saanp, and some people who are there to acquire the power. All this forms for the crisp drama and of course, everything is justified here.

The power, zeeplex, hindi, review, film, 2021
Scenes from the film (image source: youtube.com)

One thing leads to another. The smoothness in the film for the major chunk is interesting to admire. The conflicts are many in the forms of ghar ka bhedi or the external forces at their evil best or the sidekicks doing their bit. It’s a sort of Kaminey where you don’t know who will do what as all are evil in some or the other way. The misunderstandings between people are filmy to the core, but definitely enjoyable.

The narrative drops in fervour when you realize that all of this is happening for a bit too long. You could have easily visualized this film at a cut down of 30mins. Also, the pace at which the film begins isn’t always the same. Not a problem there. But this combined with so many things happening within the already complex (not in a bad way) drama gets you off the engrossing nature. The action too is too dramatic for it to be real. Yes, action in such a film is the last thing you would expect to be real, but had it been a little downplayed, the impact would have been more.


Vidyut Jamwal has really improved as an actor. For his action, he is a God. But even in his acting, you like him.

Shruti Hassan is also good, sometimes over dramatic. Wish her original voice was used in the film. It does take you away from the natural feeling of listening to an actor while she performs.

Jisshu Sengupta is good for the most part, except for the times when he speaks cuss words in anger. Only then, he seems to be going overboard. Otherwise, he lives up to his role well.

The power, zeeplex, review, hindi, film, 2021
Scene from the film (image source: zeeplex)

Yuvika Chaudhary adds the cunning element into the screenplay, much like the devious nanads or bhabhis of daily soaps. Pratik Babbar initially seems more like it, but as his role develops more, he shows more worth in his performance also. He is good to watch.

Mahesh Manjrekar comes across as a strong Godfather, the main person of the family running all the illegal businesses one can think of, but drugs. It’s an absolute No No. His personality is on point and he makes sure you believe in his power that the character echoes.

Sachin Khedekar in a meaty role is very very good. A pure villain, a nice player of politics, he is too good with his role. Not astonishing, as it’s known that he is a good actor. But it’s good to see him play this with conviction. Zakir Hussain is also one actor to watch out for. He is very good within the limitations of his role.

Medha Manjrekar has a small role but she has her moments. She is good. So is Mrunmayee Deshpande, who brings in emotional depth in the film. Her character sways between her brothers and her husband. And this mental conflict is brought out well by her.

Sudhanshu Pandey is fine. Salil Ankola with his monstrous persona adds a feeling of amazement. Sonal Chauhan brings in some charm.



Song is only one. Salim Sulaiman’s music is good. A romantic track. It’s not bad. Good, melodious. The background score by Prasad S is dramatic but important for the film. It’s so good when the tension rises and simultaneously the thumping beats pick up. Manav Shrotiya’s sound is also very rightly placed as per the film’s mood.

Cinematography by Rakesh Rawat is good for the major part. The angles are good. Shots brim with high octane dramatic thrill. The visual feel, which also includes the art direction by Art Monk LLP could be done more intelligently. The spaces and colors are at times bland. Sometimes they are very exquisite, working well for the film. The consistency is missing.

Editing by Sarvesh Parab is very good. The pace, the flow, and the structure is all very good. How the transitions take place for the entire runtime is a matter of great observation. It must have been a difficult film to edit, especially when so much is packed.

A good film. Seems repetitive in content though. The treatment is however attractive. Watch it for decent entertainment.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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