dear mr ram gopal varma and i do not know in which capacity i be write this letter to you . i be a never say he finish amitabh bachchan fan and have sit through his cock chase act in jaadugar . i also demand some important designation in the godfather fan club and have watch the coppola classic more time than you have deliver flop from your factory . and and of course and i have be a big admirer of yours and right from the time you have nagarjuna wrap the cycle chain around his knuckle in shiva . when you announce sarkar and call it your take on godfather and all one want to know be the date the first look would be out and the sunday the promos would go on air and the friday the film would be release . it be sheer wish fulfillment at work know that you and and not someone hover between the mustard field of amritsar and the tulip garden of amsterdam and have take up the task of recreate the puzo page on the bollywood big screen . your cast couldn not have be more you  work for the first time with the legend and cast abhishek a his screen son and give kay kay a role he have deserve for year and bring back forgotten face like supriya pathak and rukhsar and and pick complete non actor like katrina and tanishaa to join the list before july 1 and you have make sarkar the most awaited film ever for any godfather freak who worship bachchan . the opening credit stoke the hope that your stun sepia tint promos on the telly have kindle . but now and you label sarkar your tribute to godfather instead of the word inspire which you have be use all along . probably you do not want the two creation to be compare but when the medium be the same and then a kaante would be compare to reservoir dog and a reservoir dog to a city on fire . also and when your first and last sequence  the heart of any screenplay treatment  be all about the establishment and the transfer of power and you can not keep the nagares and the corleones apart and even if you replace the american mafia move with maharashtrian political power play . but you get it wrong and mr varma you want to show amitabh in his 70 avatar and a rustle up by the pen of salim javed . you want him to lurk around large than life . you want him to be his own brand ( o ) . then how could you steal his voice in the name of use silence . how could you keep him root to his chair in the hunt for interest camera angle . how could you leave him strand without his voice and stature and the two thing that have make his b so big . coppola godfather cameraman gordon willis mask brando eye throughout the movie because it do not have the power to match that drawl husky voice or that sudden snap of the finger . but you try to repeat the malik act from your very own company . but bachchan be no ajay devgan  his forte doesn not lie in the stagnant stare and the suffocating silence . you make the man look like a comatose patient and who remind from time to time to look at the cue card and mouth those predictable one liner . for that and agneepath there and any give saturday . which bachchan fan would go and watch kay kay menon steal the thunder from under his nose in the scene where sarkar ask vishnu to leave his house . which amitabh aficionado would go and watch him focus on achaar and carom and in a film that talk about power with a capital p in the promos . we can not handle so much in the name of restraint and understatement . you do not even allow the camera to rest on him for five second when he learn that his son want to kill him . give me the old school camera only on bachchan style and any give saturday . kudos to you and of course and for make an actor out of abhishek and first in naach and now in sarkar . you also allow him to show mallika sherawat that he can run as well a his father . even in the short prison sequence and you really make the bachchans come out of the text and an opportunity shaad miss in bunty aur babli . wish the film could have be more a father son story rather than a chaotic conflict between caricature in the name of character and who pop up like the ad windows on the internet . you also let the woman more into the script than puzo and coppola do and again and you deserve all the brownie point for squeeze them in so effectively . pathak be a welcome return a the mother in the middle and tanishaa lovable a the lovelorn girl and katrina a revelation a abhishek confuse lover and rukhsar silence speaks volume . but sub plot do not a classic remake . when your free flow camera try to make every frame look hatke and your loud background score irritate incessantly and we keep get remind that we be in a factory . well and maybe not a nino rota score but sarkar certainly deserve good than those govinda and govinda chant and uncalled for flute interlude . mr varma and some of your factory director tell me that you be involve with every project and from oversee the shooting schedule to supervise the editing session . perhaps and in the middle of all the various storyboards and the bhiku matre scream be be mute by the subhash nagare silence . perhaps and you need to bring the shutter down on the factory and work on a single homemade product . otherwise and your product would remain product and to use and throw and not treasure . and movie buff like me and for whom there be no hit and flop and only good cinema and would rather choose a film without factory finish and any give saturday .