It’s the perfect fit. In fact, it seems like Shagird was written for Nana Patekar. But having played a role like this time and again – Prahaar, Tiranga, Yeshwant, Kohraam, Tarkieb, Bhoot, Ab Tak Chhappan or Ek – The Power Of One – Patekar has nothing new to offer.

The only nuance is that there’s a grey shade to his character in this film. This time, Patekar plays a character who is working for a politician and doesn’t believe in being honest. Apart from this, he does what he’s basically been doing for years.

Another minor difference – this film is based in Delhi, not Mumbai. It’s about two Delhi Crime Branch officers – Nana Patekar, a veteran officer who’s serving his notice period and whose tactics and ethics are more than a little questionable; and Mohit Ahlawat, a new entrant with his own principles. Although a police officer, Hanumant Singh is working for politician Zakir Hussain and will do anything to please him. What follows next forms the crux of the film.

The film has been in the making for years and it also took a long time to reach the cinema halls. Thus one must applaud Tigmanshu Dhulia as the film does not look stale. Also, kudos to Dhulia for a few scenes that have been handled deftly.

Though he keeps opening one card after another and presenting the darer side of every character, the film does become predictable after a point. Background music lacks impact. Some of Nana Patekar’s lines are good.

So what are the drawbacks? In the film, Nana Patekar does everything he can to protect his family but he’s petrified of his enemies, who are capable of murdering him and his family even after they migrate from the country. Can’t they? Also, though he talks about his enemies, you have no idea who they are. Patekar’s character is portrayed as completely loyal to his ‘boss’ (the politician), who also trusts him completely. Why, then, does he cheat on the politician? Besides, the kidnap drama looks far from convincing. And the climax, which could have been shocking, lacks impact.

Nana Patekar is first-rate. Mohit Ahlawat has improved and is surprisingly very good. Zakir Hussain does full justice to his character. Anurag Kashyap tries to act. He should stick to direction. Rimmi Sen is loud. Vishwajeet Pradhan and Jai Kalra are all right.

Verdict: The film may find some patronage in B and C class centres, especially in Maharashtra. Lack of awareness, too, will dampen its prospects at the ticket counter.