'Matka King’: Nagraj Manjule’s series falls into familiar traps

As critics in Nepal, we observe Nagraj Manjule's 'Matka King' with a mix of anticipation and disappointment. Manjule, known for his impactful films like 'Sairat' and 'Fandry,' brings his distinct directorial touch to the story of Ratan Khatri, the architect of India's 'Matka' gambling empire. However, the series, co-created with Abhay Korrane, treads a path too familiar, falling into the 'Scarface-arc' narrative that has been repeatedly explored in Hindi cinema and on OTT platforms.

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If you’re invested in the business of storytelling and the individuals doing it, let me describe a disappointing sight: a filmmaker with a distinct voice, making something that has echoes of things seen many, many times before.

The show's strength lies in its competent production and Vijay Varma's portrayal of Brij Bhatti, a character driven by desperation and a keen understanding of how to monetize hope in a rigged society. The early 1960s Bombay setting is meticulously crafted, highlighting the stark wealth inequality and the nascent middle class. The series attempts to destigmatize street gambling, presenting it as a means of survival for the poor in a system designed to maintain the status quo. This nuanced portrayal, particularly the subplot involving a woman needing to bet for her husband's surgery, adds a compelling human element.

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The Scarface-arc has been adapted in Hindi cinema over the years in films like Agneepath (1990), Vaastav (1999), Raees (2016) – apart from dozens of other knockoffs before and after.

Yet, despite these merits, 'Matka King' feels like a show greenlit in the shadow of 'Scam 1992' and 'Scam 2003.' The narrative beats are predictable, and the portrayal, while watchable, feels sanitized. For a filmmaker with Manjule's unique voice, the reliance on established tropes is a missed opportunity. While the series offers a glimpse into a specific slice of Indian history and the desperation that fuels illicit economies, it ultimately fails to break new ground, leaving viewers with a sense of déjà vu rather than fresh insight.

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Matka King might be competently made and consistently watchable, but it felt too sanitised and predictable coming from the director of films like Sairat (2016) and Fandry (2013).