Director's Desk

शानदार ने शानदार रायता फैलाया on the eve of Dusshera Puja, even Raavana doesn’t need a Rama to slain him, he has another equally important factor to do this on precious day that is ‘Shaandaar’ of Mr. Vikas Bahl for self-suicide. Wow what a thought, this year Rama can be refrained from assassinating Raavana, he might feel relieved by that, thankful to Mr. Director Vikas Bahl for his boredom affair.

I don’t have a patience to write review on this hokum, this flick fills another number into the account as one of the most disgusting film of the decade. The movie manages to enter into the cordon of Ramu Ki Aag or even Saangeet of Jackie Shroff fame. There is no story, no concept either, there is not a single moment which can connect the motivation of this make.

Starts with fairy tale jumps into Insomniac passage without any logical development, two bankrupt families trying for merger for their own benefits through two opposite figured marriage, unnecessarily portraying the various silly things which shove Shaandaar into different zone of absurdity.

The same repetitive contrition rolling down from eyes of a Lad like earlier flick, very talkative film with absolute no story line, just the concoction of random scenes covered by some crisp dialogues. But one thing is conditioned brilliantly in both the flick is about the betrayal, Self-esteemed, selfishness of female but what went wrong? Nothing but just an emotional flares is missing throughout the female trials, actually when same old story is over powering in the mind of a writer, he tends to believe that only dialogues with some hazy lines can intrigue the broken hearts, the one and the only thing which makes an impact is an attitude in boys which was missing in earlier part.

Three Chutiy#s… Kartik Aaryan, Sunny Singh and Omkar Kapoor senselessly falls in love with three irritating girls and their life gets changed completely after that, but the establishment of all these characters are so exaggerated that they all fails to convince the running bizarre, pointless moment through storyline. A mindless girl questioning her partner’s morality but slept with her best friend, a kingpin father of a very bold girl exploiting a TCS chap almost like a slave, A super selfish working feigned girl sodomising her boyfriend so deliberately that I was unable to understand the person who is earning more than three lakhs a month losing his all bucks in one go and still roaming around with the lady of headaches. At least in first part we have some logical and emotional outburst which shudders me every time but this monologue has carried by the same approach which already applied in part one.

A boring, droopy flick, continuously stated only one point that all guys are just a “Chu#*…” and also very poor types,they are the only helpless one who are exploited by the devils girls, ok its fine for me for some extent but the fact of the matter is that it’s a closed film where one can’t expect to have a fresh air because  the film goes into a hackneyed way. Mr. Director Luv Ranjan tries hard to support the broken hearts but I am sorry that he was almost on the lowest point of his direction, screenplay was totally disoriented and songs are not impressive at all.

All the boys were perfect in their acts, almost impressive! Especially, Kartik Aaryan performed very well in his approx. 10-12mins of outflow interpreting the female character, reminds me a veteran Nana Patekar in Krativeer.

The dark-grey-greenish feel are vital call of Mr. Sanjay Gupta but Jazbaa is not a sincere stylish flick made by him, precisely he took more bigger steps to lift Aishwarya Rai after given her a brisk whodunit story tail but except some brim of tears and husky screams, this is only about slow motion shots and drug’s educative images. I am not a follower of Sanjay Gupta’s kind of making but Aishwarya’s comeback dragged me into the theatre just to feel the scent of her charm. These days everyone is wandering around the circle of erotic-dusky skin but Aishwarya still has enough essence in her which creates ripples inside even in a person like me.

But why Aishwarya Rai Bachchan has to find her identity in films, where some acting credentials and bootylicious curves are inevitable but both things are lacking in her attire! She doesn’t even has plastic expressions like Katrina or cat’s prowl like Priyanka Chopra, what she has was a mismatch in Jazbaa. She never achieves the thrust of performance not even plunges into the character yet what can’t be denied is her incredible charm, even if she stands still in front of camera for hours one will definitely not get bored, I think she must not listen to her inner voice that she has to act or rather over act, her impact of beauty itself do the rest. Whenever she took a step to act, she always fails due to her over expressive performances which never synced with her originality, I mean she is not natural on screen.     

Jazbaa is a story about a single independent mother and a celebrity lawyer whose daughter has been kidnapped in the midst of school event, because of this she is forced to take a case of a rapist and a murderer, chasing against all odds she manages to get bail with the help of heroic Irffan Khan, a soundly corrupt cop, fighting against his own department, which is running after him to catch in corruption charges. But here a surprise is awaiting in Shabana Azmi, single mother whose daughter was mutilated, raped and who left her alone because she believes that her mother is responsible in her parent’s separation… but she is waiting for justice for her daughter.

I think these were the perfect elements for Sanjay Gupta style but here “Kaante” (Jaane Kya Hoga Rama Re) is missing, this is just an astonishment for me that comeback of Aishwarya Rai Bachchan’s film has no song, not even a kind of parallel love track! which is really important to her but giving full fledge chance to Mrs Bachchan turns hostile to her only and Madam Shabana Azmi  catches all attention and rubs other characters from memory slate. Last but not the least even Jackie Sharoff leaves little impact in this film but not Mr. Director Sanjay Gupta.

How legend falls, I have seen it through Talvar which creates the publicity blitzkrieg after yelling so much about Kurosawa’s ‘Rashomon’ that defines the nature of investigation from different perspectives… Talvar is also recounting the different versions of explanation of the most famous and complicated murder case “Aarushi Talvar” but fails to convince of the version which influences me to think in a way Director wants to show… I am amazed to see the publicity attempts to cater audiences from indirect influences, before the release of Talvar they announced that In Toronto International Film Festival 1300 tickets had been sold within an hour, here we are assuming that O My God they are more sensible than us and it must be the film of its kind… The best investigation film ever made in Indian Panorama whether their sensibilities were shaken or not, mine was shuddering.

Wobbling started from very beginning, establishing the investigation agency/person and in all likelihood Irffan Khan is going to crack this case but cliff is not straight so it took almost 30 minutes to take some decent fly but Director must be in the mood to reject any other theory other than what 1^st CDI concluded which is just not acceptable. That shows the psychological architecture of a writer who just can’t stay as a natural person, his arguments already defines his believes and disbelieves. Writer is arguing with his own morality, he somehow is unable to convince that this is case of honor killing, her parents must not be a culprit. 

Some of the good performances and light punch lines makes this film alive otherwise execution fails to stand on incidences, decelerate the vigorously running plots, but here they are, showing the repetitive images and points just to prove the idea of Rashomon. I must say whoever have seen this Akira’s masterpiece definitely has similar point of view.       

   

Suspect Neeraj Kabi manages to deliver some good moves, even Konkona Sen Sharma performs well but not at all memorable, Irrfan Khan again hits the bulls’ eyes with his flawless acting who is solving this double homicide puzzle which created a ripple around Indians.  

Again this is a Vishal Bhardwaj’s presentation, just like his earlier babies this one is of the same track of being a noir, arranging natural lightning patterns, not getting political just showcasing corruption in departments and how they support each other to save their own asses.

But don’t be afraid, just go and watch for Aarushi Talvar, story deserves to be known.