The narrative has a propulsive movement in the first half but becomes dramatically inert in the second. Jha, who has fought elections in Bihar himself, creates a real sense of the machinations and sordid deals that fuel politics but then hobbles it with outlandish twists and some decidedly ‘filmy’ moments – like a ridiculous love-making scene that is triggered because the characters get wet in the rain.

Apparently getting soaked in Bollywood still equals sex. And, as almost all the female characters in this film find out, having sex even one time, still equals babies.

The performances are strong—especially Ranbir Kapoor, Arjun Rampal and Nana Patekar—but the characters are largely one-note.

There has been much hype about Katrina Kaif learning lengthy Hindi dialogue for the film. She’s clearly worked hard but her luminous looks rather than acting are still her trump card.

Raajneeti is a film with ambition and scale but it works in fits and spurts. Jha’s political epic is too busy and bumpy and never quite fulfils the potential inherent in the story.

Raajneeti sources as much from The Godfather as it does from the Mahabharata. So we have sets of cousins whose rivalry spills into the open as soon as the head of the family suffers a stroke.

The film begins with a back-story of Sooraj Kumar, the Karna-like figure played by Ajay Devgn. Abandoned at birth, Sooraj is adopted by a Dalit family.

In quick succession, so many characters are introduced that Jha uses a voice-over to explain who is connected to whom and what the political affiliations are. It takes a good 15 minutes to take in the details and place the characters but the story-telling is engaging and soon you’re caught up with this Machiavellian family in which the plotting begins even as the father is still being treated by doctors. As the stakes get higher, the moves get bloodier.