Producer: Rockline Venkatesh
Music Director: V. Harikrishna
Cinematographer: Ashok Kashyap
Upendra, Nayantara, Tulip Joshi, Sadhu Kokila
A symbol being the title of the film, it is replete with symbolism in every frame. Right from the part where title sequence is displayed, Supershowcases the creativity of its maker, Upendra. For instance, the credit for direction just shows “U” with an index finger pointing towards the audience—which could be interpreted as the film, in this case, the story of India, is directed by its people. This story of India is narrated metaphorically through the story of Indira, the female lead.
Super depicts a Utopian India in the year 2030 where Indians are pictured to be wealthy, hard-working, and are seen wearing traditional clothing consisting of Ilkal saree and panche. In contrast, westerners are the ones taking care of menial jobs like taxi driving, janitorial, etc. It is a future where the rupee is valued 70 times the British pound and people who cannot speak Kannada are considered illiterates (and westerners are visibly apologetic about the same). From this setting, the film regresses back to the current year 2010 where India is beset with problems of corruption, red-tapism, pollution and unemployment. Political satire is played out by using sounds of horses and donkeys when ministers appear on screen, which represents the political horse trading witnessed in recent times in the state of Karnataka. Scenes of raping Indira and the auctioning process of an entire Indian state are interspersed to draw a parallel between the two. The film finds a climax back in 2030 where a foreigner asks an Indian as to who was responsible for all the good changes in India, and the film ends abruptly again with the index finger pointing at the audience, symbolizing that it’s the people who are ultimately responsible for the course of a nation.