All hail. All hail. India's first 'Gangsta' film is here. Coppola, watch out. Ram Gopal Varma may just end up giving 'Godfather' (I, II, III, IV, V) a run for your money with his 'Satya' - atleast in India. This is an insider's film, and therefore different. The point of view or perspective remains steadfastly that of these desperate underworld characters inhabiting the gutters (and gut) of Mumbai's criminal hell. 'Ramu' takes you there - into their dark hearts and dingy homes. Unveils the satya behind their lives. Humanises them, without ever glorifying crime or violence.

It's an old-fashioned morality tale that, for a change, goes beyond the 'Bang Bang, you're dead' genre of local gangster movies. On the contrary, Satya is far more sophisticated and credible precisely because it attempts to penetrate and analyse the 'Whys' of criminality with a touch that's assured and insightful. It's far too intelligent and intense a film to break records at the box office - which is a pity. It deserves to do just that.

I recall reacting in a similar manner to just two other Hindi films which tried to exploit the same subject - 'Dayavan' and 'Dalapati'. Not so surprisingly, the originals of both were made by South Indian film makers. Where Satya scores over them is in its bone-chilling treatment which rings true at all times. Of course, Ramu too has buckled and tried feebly to 'go commercial'.

Frankly, since he'd already stuck his neck out this far, I wish he'd gone all the way. Satya didn't need a rain-drenched song-sequence, even if it's the luscious Urmila Matondkar who is prancing through a vegetable market in a wetter-than-a-seal saree. The song itself was absurd ('Paani Paani'). Its picturisation, even more so. Mercifully, its likely to be deleted. It ruined the almost operatic rhythm of Ramu's macabre dance of death. It also didn't help that his anti-hero was an unattractive and unconvincing unknown (to me) actor (Chakravarthy) who looked incapable of attracting a hard up junior artist, forget Urmila.

In fact, poor Urmila tried a bit too hard to go serious. But the 'love chakkar' remained just that, a superfluous chakkar that cut into the pace of the film. Chakravarthy's 'brooding' portrayal remained sullen and apathetic throughout.

Ramu wisely stayed away from familiar commercial film faces, opting for TV stars and theatre people. The biggest break for anybody on the fringes of the film industry was provided to Manoj (Swabhimaan) Bajpai on a platter. He is the real star of Satya and has turned in a superlative performance that stubbornly refuses to descend into mawkish melodrama.

Several other cameos were perfectly cast and enacted. Of the lot, Paresh Rawal's police commissioner was the weakest. But the person playing inspector 'Khandilkar' was excellent. As was Shefali Chhaya doing an Asha Gawli as Arun, sorry Mhatre's lusty, sexy, loyal wife.

Satya spoke the language of the streets - rough, crude, uncouth, brutal. And yet, did not offend sensibilities. It perfectly captured the savagery of what has become our daily reality while also uncovering the final futility and pathos of mindless gang wars. The only fake touch was inadvertently provided by Miss Matondkar's inch-long eyelashes which she batted enthusiastically on cue. Mumbai has never looked as sinister - nor as seductive. Take a bow, Varma.