Movie Review: Inkaar

Long long time ago, there was a screeching song – Inkaar nahi karna.. hadh se bhi jyada tum kisi se pyaar nahi karna.

The crew that went for the show loves Chitrangada, and there is a general belief that the ravishing babe knows how to select good scripts. The other factor in consideration was the Director, Mr. Sudhir Mishra, who has traditionally delivered interesting movies based on interesting pretexts – Hazaron Khwahieshin Aisi, Is Raat Ki Subah Nahi, Khoya Khoya Chaand, Chameli, Ye Saali Zindagi, etc.

The movie starts with a sexual harassment case brought upon by Maya (Chitrangada) on Rahul (Arjun Rampal), with Dipti Naval playing Mrs. Kamdar (social worker brought in to help resolve the conundrum). Except that it isn’t as black and white as you would imagine. Arjun ain’t ready to accept, and he is a glib talker. And Maya has too many skeletons in the relationship closet as well. The thin line between “favors are fine” and “you’re harassing me now” is what the movie keeps revolving around.

The goods – Plotline. So, to set the score right, the script is interesting. Yet again, Mishra does it right. Office culture, flirtatious relationships, office romance, sexual favors, harassment suits, etc. have been depicted once by a gentleman with a Bhandarkar surname. Yet, this one is closer to being, rather than the gloomy picture that he loves to showcase. And it is, unlike most trash that wants you to take side, this one is balanced.
The soundtrack is quite good as it gels with the movie, and there are a couple of very good songs. The couple of Kanwaljit scenes are actually brilliant and key to understanding the movie. The climax is good, but could have been better. The first half, where it ends, could have just added 15 more minutes to wrap up the movie. The way the relationship between Maya and Rohit is unveiled is interesting. And rather than show a Maya, Rahul and true version of everything, they’ve kept things reasonably ambiguous throughout.

The bads – First up, horrible editing. The movie should have been at least 40-45 minutes shorter, and it would have been an awesome crisp movie. But then, we haven’t known Mr. Mishra’s movies to be well edited. Read the list again. Then comes the dialogue. The movie has some hilariously bad dialogues that I don’t want to get into. Better dialogues could have saved the movie. Third, the waste of two glam ladies- Dipti Naval and Chitrangada. Dipti Naval almost isn’t herself. She is bad in this movie, which she has never really been anywhere else. Not in my memory. Chitrangada looks as gorgeous as she always does, but she is off color in the acting department this time. No one expects anything, so why waste e-ink on him. Though, to be fair, he is actually decent. Or, maybe its my lower expectations and some halo effect. Even Shivani Tanksale is wasted. The best guy is Vipin Sharma as Guptaji. And lastly, while the movie is setup quite well over a lot of rapidly moving scenes that alternate between versions of the story, the damn things goes on a tad too long before it gets anywhere. The suspense is interesting to start with, but you need newer conflicting angles for things to stay interesting. Not a cat fight. Unless you are into LOLCAT videos.

Endnote – 2 of the 4 enjoyed the movie. 1 is coming around, and saying it wasn’t that bad. And me – well, I wouldn’t have missed not watching it. But it ain’t the too bad. It’s a 2.5 on 5.

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Movie Review: Khoya Khoya Chand

I watched Khoya Khoya Chand on Friday. Its a different matter that I am writing the review now.

 To me, its a brilliant movie that would fail to make its mark. Reasons – to be honest, I dont want to dissect the this and that of the movie and kill a dream in the process. I see KKC as Sudhir Mishra’s tribute to his time in the Hindi Film Industry (pardon me for not referring to it as Bollywood yet). And I can tell you what I liked about the movie. Its brilliant in its canvas, cinematography, characterization. The music is quite awesome.the thought behind the movie is quite profound. The imagination vivid. The use of cinema within cinema is a novel way of showing the reality that cinema is supposed to present. And for that, I would like to give full marks to Mishra.

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The place where the movie fails is its editing. Its too slow and too disjoint at times. Everything makes sense, everything fits, and yet, you are fidgety in your seat at times. At times you wonder, for how long has this thing being going on? And then, the twist happens. The twist in the personality, emotions bring you back to whats happening on the screen. Its a wait and bait game that the movie plays with you. If you fish for fun, waiting can be too boring. If its your bread and butter, you know that for a bigger catch, you may have to wait longer. The movie will not appeal to people who prefer spending 150 bucks on an Om Shanti Om, where every minute of the movie is supposed to be explicit, entertaining, and exciting. The movie will appeal to theatre enthusiasts who like the use of sets, dialogues, imagery, limited words, multiple interpretations, the play between characters, the way the story buildds for 10 minutes to give you an ephemeral kick. None of the characters is a “hero”. None of them is a villain either. They are all playing their part in the gray zone. The shot where Zafar (Shiney) is mad at Nikhat (Soha) for not having tried her best in getting his way with a producer is an exquisite display of the real side of people. We all lose it at times, say things that we dont mean in general, but we do mean them in the spur of the moment. The shot where Prem Kumar (Rajat Kapoor) asks Zafar and Shyamul (Vinay Pathak) “sirf main hi itna haraamzaada hoon? ya sab aise hote hain?” is again a reality check. In another shot, zafar asks Nikhat – “hum to yahin hain. aap kahan hain? aap kahan they?’  and in another zafar tells shyamul – ise chod ke jeena bhi to mumkin nahi hai! The movie is a gem. Its a gem that some people will appreaciate on DVDs. But its bound to bomb at the box office. It may get an award somewhere, but most likely, it wont get any financial rewards. I live with a hope to be proven wrong on this.

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Shiney, Soha, Rajat, Sonya,  Vinay, et al shine. And you can see the effort. At times, shiney does go slightly overboard, but only slightly. Soha is a find. There are shots where she looks exquisitely beautiful, and there are shots where she looks like an ordinary girl. Isnt that what cinema is? A make believe world.

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And thats why you should see it. Its abotu all the things that make Cinema what it is. Glamorous, yet painful! Inviting, yet indifferent!!

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