‘Nishaanchi,’ directed by Anurag Kashyap, was released in theatres on 19th September and stars Aaishvary Thackeray, Vedika Pinto, Monica Panwar, Mohammed Zeeshan Ayyub, Vineet Kumar Singh, and Kumud Mishra.
‘Nishaanchi’ is a lively nod to the 1980s masala films, packed with crime, drama, action, and humour in perfect balance. Unlike the often messy movies of that era, this one has a clear storyline that keeps you glued. It feels a bit like ‘Gangs of Wasseypur’ with its big, multi-generation tale and colourful characters, but it carves out its own unique style.
A throwback to 80s masala
Similar to ‘GoW,’ this film too will have a second part. With ‘Nishaanchi,’ Anurag Kashyap seems to have rediscovered his flair that had gone missing from his last few outings. The film takes him back to familiar ground, one that he has explored with confidence in the past, and it shows. He thrives when telling stories deeply rooted in a specific milieu, and this one benefits from that comfort zone. However, patience is a must because the film runs just shy of three hours, and the length does stretch the narrative thin after a point. A major chunk of the narrative plays out in flashback, evoking memories of ‘Gangs of Wasseypur,’ and Kashyap seems intent on detailing every single thread of the story. ‘Nishaanchi’ evokes the energy of 80s revenge dramas but with more layers stitched into its fabric.
A sprawling family saga
The story unfolds in Kanpur and follows twins Babloo and Dabloo (Aaishvary Thackeray). Babloo, the more daring of the two, becomes a criminal, while Dabloo remains a timid mama’s boy. Babloo is in love with Rinku (Vedika Pinto), a young woman whose life has taken a downward turn since her father’s death and now survives by performing raunchy dances at events. The film kicks off with the trio attempting a bank heist that goes horribly wrong. Babloo is arrested, while Dabloo and Rinku barely manage to escape. The narrative then jumps into an extended flashback introducing their parents, Manjiri and Jabardast Singh. Both Manjiri (Monica Panwar) and Jabardast (Vineet Singh) were sports players who failed to cross hurdles to reach the top because of politics. Things get complicated when Ambika Prasad (Kumud Mishra), Jabardast’s friend, ensures his death when he is serving jail time.
Layered characters lift the narrative
What separates ‘Nishaanchi’ from a run-of-the-mill commercial potboiler is the layering of its characters and the detailed setting. The film captures the texture of Kanpur with remarkable precision, making the world feel lived-in. Every character belongs to the place, and the dialect is so authentic that even newcomers Aaishvary Thackeray and Vedika Pinto, despite not being from the region, blend in seamlessly. Kashyap takes his time—sometimes too much of it—to shine a light on each subplot, ensuring nothing feels rushed. The structure and expanse invite inevitable comparisons with ‘Gangs of Wasseypur,’ but ‘Nishaanchi’ maintains its own identity. A comic undertone runs through the supporting cast, providing some respite from the heavier moments and ensuring that audiences are never fully weighed down by the darkness.
Strong performances anchor the film
Performance-wise, ‘Nishaanchi’ is driven by fresh energy. Aaishvary Thackeray makes an impressive debut, shouldering the twin roles with remarkable conviction. Babloo and Dabloo are chalk and cheese, and he manages to make them distinctly believable, never allowing them to overlap. Vedika Pinto as Rinku matches him with a spirited turn, portraying resilience despite her character’s tragic trajectory. Monica Panwar as Manjiri delivers a sincere performance, though her casting as a mother to grown sons feels premature in her career. Kumud Mishra, as Ambika Prasad, is reliably good, portraying menace with a natural ease. The ensemble, even in smaller roles, adds authenticity to the world Kashyap builds.
Kashyap taps into his strengths
‘Nishaanchi’ ultimately succeeds as an entertaining blend of crime, drama, and comedy. Kashyap immerses viewers in Kanpur, building a universe that feels both raw and theatrical. While the slow pace and indulgent runtime test patience, particularly in stretches where the plot stalls, the film deliberately demands attention and investment. By the time the “End of Part 1” slate appears, it feels like Kashyap has only just completed laying the groundwork for the saga. ‘Nishaanchi’ may not be flawless, but it signals a return to the director’s strengths—his eye for milieu, layered storytelling, and morally complex characters. For now, it stands as a reminder of what he does best—telling stories that are deeply rooted, messy, and alive.
Rating: 3.5/5
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