She falls for Rakesh, not because he’s particularly charming but because he’s played by Hashmi and it’d be bad for the actor’s image if the female lead wasn’t throwing herself at him.

I was glad for the return of Nupur, Satyendra’s supportive sister, and the one searching character in the film. Rakesh attempts a scam similar to the engineering tests, with MBA entrance exams, but with Satyendra out of the picture, there’s less at stake emotionally. Satyendra fades from the second half of the film, and the narrative – already guilty of repetition – starts to meander. There’s no good reason why there’d be poster of a Bengali art film on a wall in Uttar Pradesh in the late ‘90s (it’s different in Jaane Bhi Do Yaaro, whose satirical universe allowed for the use of Kumar Shahani and Mani Kaul film posters). It’s also a reference for the sake of it. It’s an apt comparison: Jana Aranya begins with a scene of cheating in an examination hall, and is a story of middle-class dreams and corruption. In the scene where Satyendra is on the phone with Rakesh in Jhansi, there’s a poster for Satyajit Ray’s Jana Aranya (1975) on the wall behind him. There’s another reference, this time from an Indian film. And sure enough, he ends up using Gekko’s famous phrase: greed is good. Like Gordon, Rakesh is married and involved with another woman. He exploits young Bud Fox but is also fond of him, much like Rakesh both uses and feels responsible for Satyendra, shepherding him through the early days of college while also putting him on a punishing schedule of proxy exams. Gordon Gekko (Wall Street, 1987) is one of the great antagonists in movie history because he’s gleefully, wholeheartedly amoral.

There were no such delusions in the man on whom Rakesh is clearly modelled.

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