At the outset I want to make it clear that “Sarkar Raj” has nothing to do with “Godfather-2″. It also does not take off from where “Sarkar” ended. In the life of a man like Sarkar there are bound to be so many incidents which will give raise to new complex situations. So for want of a better word I would like to describe it as the new adventures of the Sarkar family.
For me the Sarkar films are about framing and showcasing the aura of power.
I employed each and every aspect of the various techniques of the film medium whether it is the music or dialogue or cinematography for one and only one purpose – that is to capture the intensity in the actors eyes, through which we see a world of high drama be it politics, treachery, revenge, passion, courage, love and above all relationships.
Sarkar Raj is much bigger than Sarkar in scale mainly because the issues and character conflicts it deals with are much more complex and intriguing than in the 1st Part.
I pushed the upper limits of technique in every which way to make each frame and sound to vibrate with power. But no technique is of any value unless it is backed by performances.
I have always believed that there is no greater cinematic visual than an actor performing in a tight close-up. The faces of the three Bachchan’s in Sarkar Raj are the ultimate testimony of that.