The highly anticipated third season of “Mirzapur” dives once again into the murky waters of crime and politics in the Indian heartland. However, this installment feels like it’s strictly tailored for the loyal fanbase that has followed the series from the beginning.
In the fifth episode, we meet a new character, Rahim (Pallav Singh), whose entrance is marked by reciting couplets filled with expletives. While his poetic prowess sets an expectation for something profound, the subsequent punchlines draw more cheers than contemplation. Rahim’s character, who aspired to be a civil servant but ended up in prison, epitomizes the series’ blend of raw ambition and crude reality.
“Mirzapur” continues to navigate the gritty nexus of crime and politics, captivating young minds much like the pulp fiction of yesteryears. The series leverages explicit language, violence, and sexual content, dressing it up as an art form to attract and maintain viewer attention. Directors Gurmmeet Singh and Anand Iyer have managed to keep the unpredictability alive, with Guddu Pandit (Ali Fazal) embodying the essence of unpredictability and intensity that has become a trademark of the show.
With Munna (Divyendu) dead and Akhandanand Tripathi (Pankaj Tripathi) largely absent, Guddu now reigns over Mirzapur. Yet, his hold over Purvanchal remains tenuous, as his peers doubt his ability to balance business acumen with his penchant for violence. The primary antagonist this season is Sharad Shukla (Anjumm Shharma) from Jaunpur, who aims to fulfill his father’s ambitions and challenge Guddu’s supremacy. With political backing, Shukla has the upper hand, but Guddu, aided by the astute Golu Gupta (Shweta Tripathi), proves a formidable opponent despite his impulsive nature.
The police, led by Manu Rishi, who often portrays characters caught in helpless situations, show a surprising amount of backbone this season. This change adds a fresh layer to the narrative, with an encounter sequence involving a Bhojpuri star standing out as particularly memorable.
The subplot involving Bharat/Shatrughan Tyagi (Vijay Varma) from Bihar feels somewhat disconnected, despite efforts to weave it into the main storyline. In contrast, the narrative surrounding drug lord Lala (Anil George) and his daughter Shabnam transitions more naturally.
The season doesn’t shy away from graphic violence, with scenes of extreme brutality becoming a staple. This mirrors another release this week, which, unlike “Mirzapur,” opts for a straightforward title, “Kill,” reflecting the simplicity of its violent content.
Advocate Ramakant Pandit (Rajesh Tailang), once the moral compass of the series, now seems to embrace a more Darwinian outlook, reinforcing the theme of survival of the fittest. This shift allows for unchecked violence, adding to the series’ already high-stakes environment. Characters are pushed to their limits, both physically and emotionally, creating a relentless pace that can be as exhausting as it is exhilarating.
The series’ background score is vibrant and energetic, appealing to younger audiences, while the portrayal of female characters tries to balance the male-dominated narrative. However, Shweta Tripathi’s performance as Golu Gupta occasionally feels overdone, perhaps in an attempt to match the intensity of her male counterparts. Isha Talwar, playing Madhuri Yadav, falls into a stereotypical role that lacks depth, reminiscent of the “goongi gudiya” trope used historically in Indian politics. Rasika Dugal’s portrayal of Beena Tripathi remains the most nuanced, showcasing the complexities of navigating a patriarchal landscape.
Ali Fazal’s evolution as Guddu Pandit is impressive, though Anjumm Shharma’s portrayal of Sharad Shukla as a subdued gangster lacks the menace needed to be truly compelling. Vijay Varma’s character, unfortunately, does not get enough screen time to fully develop, and Pankaj Tripathi’s brief appearance serves as a reminder of how integral he is to the series’ success.
From a political perspective, the series’ depiction of the region’s caste dynamics feels somewhat superficial. The portrayal of a politically fractured Yadav family is predictable, and the absence of other significant regional strongmen, such as Bhumihars and Rajputs, is noticeable. Moreover, the character of the Muslim strongman from West UP is overly simplified, relying heavily on his use of chaste Urdu.
At times, the series indulges in excessive twists and turns, which can leave the audience feeling manipulated rather than engaged. The writers’ attempts to outsmart the viewers sometimes result in a narrative that feels emotionally unfulfilling or contrived.
For the hardcore fans of “Mirzapur,” Season 3 offers enough thrills and drama to keep them invested. However, for those looking for a deeper or more cohesive story, this season may fall short. The show continues to be a rollercoaster of violence, power struggles, and complex characters, but it could benefit from a more focused and nuanced approach to its storytelling.
