Nishaanchi Review: Anurag Kashyap’s Wasseypur-Esque Masala Saga

Nishaanchi Review: Anurag Kashyap’s Wasseypur-Esque Film Blends Chaos, Nostalgia, and Bollywood Masala

Anurag Kashyap’s Nishaanchi is nothing less than a wild cinematic ride soaked in nostalgia and unapologetic Bollywood masala. The film is not just another crime drama but a chaotic cocktail of love, betrayal, revenge, and satire. Echoing the tone of Gangs of Wasseypur, it firmly establishes itself as a Wasseypur-esque film that pays tribute to the Bollywood we grew up watching. With doppelgänger twins, a fearless mother, a corrupt system, a deshbhakti number, and a larger-than-life antagonist, Nishaanchi feels like a love letter to cinema itself.

Set in Kanpur in 2006, the film wastes no time in immersing viewers into its world. From the crowded lanes to street food stalls, every frame screams of heartland India. The introduction of Dabloo—nervously trying to rob a bank with a handwritten threat—sets the quirky yet dangerous tone of the narrative. His twin, Babloo, who later renames himself Toni Mantena, soon enters the frame and chaos multiplies. But when inspector Kalam foils their plan and Babloo is imprisoned, the story takes a darker turn, unraveling long-held grudges, betrayals, and old rivalries.

At its heart, Nishaanchi is a story of broken families, blood-soaked loyalties, and power struggles. The flashback reveals Manjari’s feud with Ambika, the corrupt antagonist, tracing back to her husband Jabardast’s death. Ambika’s obsession with Manjari and betrayal of friendship adds layers to the central conflict. What makes the story even more compelling is how Babloo unknowingly works under Ambika, the very man responsible for his family’s downfall. This generational cycle of violence and vengeance is what Kashyap thrives on, and Nishaanchi takes it to another level.

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While the men in the film are reckless, impulsive, and bloodthirsty, the women steal the spotlight. Manjari emerges as the real backbone of the story, a no-nonsense mother who refuses to be reduced to a victim. A former shooter, she raises her sons with grit, confronts Ambika without fear, and shelters Rinku despite threats. She is unapologetically bold, armed with both words and weapons, and Kashyap crafts her as one of his strongest female characters yet. Rinku, played with raw charm, is equally memorable. Fierce, unapologetic, and sensual, she refuses to be objectified, instead wielding her confidence as a weapon. In one standout moment, she teaches Babloo how to kiss, perfectly blending tenderness with defiance.

The film is sprinkled with humour, much like Wasseypur. From witty one-liners in Kanpuriya slang to absurd songs like Raja Hindustani, Kashyap ensures the tension is constantly balanced with laughter. Bollywood references come thick and fast—whether it’s Babloo comparing his love story to Mughal-e-Azam and Hum Aapke Hain Koun or shooting someone to the beat of My Name Is Lakhan. These moments feel less like parody and more like affectionate nods to Bollywood’s maximalism.

Performance-wise, Aaishvary Thackeray is the breakout star, delivering a strikingly confident portrayal of both Dabloo and Babloo. He seamlessly switches between naïve vulnerability and ruthless swagger, giving each character distinct energy. Monika Panwar as Manjari is phenomenal, capturing both maternal warmth and ironclad strength. Vedika Pinto as Rinku exudes old-world Bollywood allure while bringing modern grit to the character. Viineet Kumar Singh, though brief in his role as Jabardast, leaves an indelible mark, while Kumud Mishra elevates Ambika with a chilling stillness that lingers.

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Technically, Nishaanchi dazzles with its vibrant cinematography, folk-infused soundtrack, and colourful textures. The film smells, tastes, and sounds like Kanpur, pulling the audience deep into its chaotic universe. Songs like Dear Country add to the absurd brilliance of the narrative, keeping viewers both entertained and unsettled. Even at a near three-hour runtime, the film remains engaging, with the second half delivering some of the most powerful sequences.

In the end, Nishaanchi is not merely a story but an experience. It thrives on anarchy, revels in excess, and celebrates the madness of Bollywood. Kashyap draws heavily from the Wasseypur playbook yet ensures the film stands tall on its own, thanks to its rooted storytelling and unforgettable characters. For fans of masala cinema, it’s a riotous tribute to the past and a reminder of why Bollywood will always be larger than life.

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