Indian movies

We're experiencing a whole new world in cinema. Themes that were considered abstract and offbeat are slowly making inroads into Bollywood. These films are a complete contrast to what we've been experiencing thus far. You could actually mistake it for European cinema in general and French cinema in particular. MITHYA, directed by Rajat Kapoor, is one of those films. Conceal the faces of the actors and you'd never believe it's a Hindi film.

In this case, MITHYA, you can't draw parallels with any film, past or present. That's because something like this has never been attempted before. And that happens to be the flip side as well, for MITHYA is not everyone's cup of tea, everyone's idea of entertainment. It caters to a niche audience, those with an appetite for 'different' cinema. It's for the discerning viewer that wants a change, who wants to watch a new story unravel on celluloid.

Seen individually, MITHYA is an experience you cannot forget easily. It leaves a solid impact, especially if you're receptive to out of the box experiences.

VK [Ranvir Shorey] has come to Mumbai, chasing big film dreams, like thousands of others. When fate makes him a pawn in a master game plan of the underworld, he unknowingly gets drawn into a whirlpool of events that will determine his future. Then an unexpected accident turns the tables for everybody involved.

Now begins a chase that won't stop at anything. VK is too deep into it now to step back. Unknowingly, he has become an imposter, an imposter who wasn't.

On script level, a film like MITHYA has layers and more layers and is indeed a complex theme to handle. Not everyone can attempt it, since a theme like this has to be handled very, very carefully, else it may boomerang. That's where an expert storyteller like Rajat Kapoor steps in.

You get instantly sucked into the struggler's world and gradually forget that you're a viewer. You become a bystander. You feel it's happening right there in front of your eyes, experiencing everything firsthand.

The best part of the script [writers: Saurabh Shukla, Rajat Kapoor] is that you cannot predict the next moment. Its unpredictability is its USP. The film moves about in a serpentine manner and as it reaches its culmination, you're emphathizing with the struggler, who started somewhere else and ended at an altogether different destination. That's destiny, isn't it?

But the best part is the concluding moments. The culmination to Ranvir's character -- the way it has been filmed -- leaves you stunned, speechless and of course, sad! Its execution cannot be described in mere words.

Director Rajat Kapoor takes a giant leap as a storyteller. If you understand cinema or are associated with it, you'd realize that MITHYA is more of a director's film, than an actor's. Although it's premature to talk at this juncture, but MITHYA should feature prominently in the 'Bests of 2008' when the year draws to a close. The writing too is topnotch. Ditto for the camerawork, which gives the film a cold, gloomy look.

Lavish praises must be reserved for Ranvir Shorey, who delivers an extra-ordinary performance in the central role. You've known him as a funster, now watch him in a role that you could never place him in. A brilliant performance! Naseeruddin Shah, as always, is hugely competent. Neha Dhupia is one of the most under-rated actors around. Watch her in this film as she slips into a role with such effortless ease. She deserves better roles for sure. Iravati is fantastic. Saurabh Shukla is first-rate. Harsh Chhaya excels. Vinay Pathak is relegated to the backseat this time; he's good. Brijendra Kala is excellent.

On the whole, MITHYA has the courage to tell one of the most novel stories we've ever watched on celluloid. Sure, it caters to the multiplex junta, but honestly, some films are beyond box-office and should just be lauded for the sheer strength of taking Hindi cinema beyond the stereotype.

Wait, here's a grievance. The promos give an impression that it's a comic fare. You may also believe that it's a laugh-riot in view of the fact that MITHYA comes from the BHEJA FRY team. It's not! The promos are misleading and ought to reflect the content to tap its potential.

Whodunits and suspense sagas sound interesting on paper, but not every film-maker can translate them with panache on celluloid. The year 2007 has witnessed a number of suspense thrillers hit the Indian screen, like RED - THE DARK SIDE, RAQEEB, THE TRAIN, NAQAAB, AGGAR and MANORAMA SIX FEET UNDER, but a majority of them sank faster than Titanic because the suspense in the end didn't measure up to the expectations.

JOHNNY GADDAAR, directed by Sriram Raghavan, belongs to a different variety of thrillers altogether. In JOHNNY GADDAAR, the viewer knows, at the very outset, who the actual gaddaar is, but his partners-in-crime don't. The gaddaar accidentally ends up eliminating every one in his gang. Just when you think that the gaddaar has removed the obstacles from his path, a gun shot is fired again… there's yet another twist in the tale.

Sriram Raghavan compels viewers to use their mind as layer after layer is peeled off, like the late Vijay Anand pulled it off with élan in TEESRI MANZIL and more particularly, in JEWEL THIEF.

JOHNNY GADDAAR borrows from James Hadley Chase novels and a vital scene from the yesteryear Big B - Navin Nischol starrer PARWANA [the film-maker doesn't conceal his inspirations]. Well crafted with some great moments, JOHNNY GADDAAR is not just style, but substance as well.

With EK HASINA THI, his directorial debut, Raghavan proved that he's a remarkable storyteller. With JOHNNY GADDAAR, there's no stopping this adroit storyteller. Without a shred of doubt, JOHNNY GADDAAR is one of the finest thrillers to hit the marquee in 2007. We've had enough of laughs, it's time to have a chill down your spine.

The story starts with one of the gang members Seshadri [Dharmendra] getting an offer to make a fortune in four days. All the gang members [they're five in all] are up for it as this is the deal that will catapult them into the big league.

The youngest member of the gang Vikram [Neil Nitin Mukesh] plans to disappear to some unknown city and start his own life with his love Mini [Rimi Sen], when a devilish thought crosses his mind. What if he grabs the entire jackpot? Vikram decides to double cross his partners.

Come to think of it, JOHNNY GADDAAR is not one of those desi thrillers film-makers have visited time and again. The beauty lies in the fact that no one can predict what's in store next. Just when you think that the film would head left, it goes right, catching you completely unawares. And Raghavan continues to shock and startle you till the last frame.

The casting adds to the experience. Although JOHNNY GADDAAR revolves around five men and one woman, a few more characters are injected in the narrative, but not once do the goings-on get confusing. Under normal circumstances, the inclusion of characters only results in things getting messier and chaotic. Not here!

One would be doing gross injustice if one were to pinpoint any particular sequence that leaves an impact in this 16 reeler, but, yes, every murder that takes place remains etched in your memory even after the show has concluded. Any roadblocks? Just one! The second half could've been shorter. Also, the slow pacing acts as a deterrent.

JOHNNY GADDAAR is a songless film [except for one song in the pre-climax, but the story only moves forward in this track] and that works to the advantage. There're no distractions, no deviations, no sub-plots that get jarring… thankfully. Yet, Raghavan should've used the popular track 'Doobja Mere Pyaar Mein' [filmed on music composers Shankar-Ehsaan-Loy and Hard Kaur] in the end credits. Cinematography is superb. The screenplay and dialogues are both flawless.

Now to the performances! Neil Nitin Mukesh is a discovery in the true sense. Sure, he resembles Hrithik Roshan in looks, but he's a complete natural when it comes to acting. Raghavan does take a big risk by placing the story on his shoulders, but the youngster carries off the part with dexterity. There's just one word to describe his performance -- superb!

Dharmendra is in top form. METRO, APNE and now JOHNNY GADDAAR, 2007 is yet another turning point in his career. Vinay Pathak continues to cement his status with every release. He's excellent. Zakir Hussain is fantastic. It's yet another superior performance from this supremely talented actor. Daya Shetty [who's thrown off the train] does well.

Rimi Sen springs a pleasant surprise. She enacts a complex role with complete understanding. Ashwini Kalsekar [Vinay Pathak's wife] is exceptional. What a tremendous actress! Govind Namdeo is first-rate. Rasika Joshi [Daya Shetty's mother] is remarkable.

On the whole, JOHNNY GADDAAR is a taut thriller that has the germs to catch up with the audience. At the box-office, its business at multiplexes will be the best. Lack of a major opposition coupled with an additional holiday on Tuesday [October 2 - Gandhi Jayanti] would prove to be a bonus!

The hallmark of any thriller is that it should build the suspense beautifully, hold the attention to the point that the viewer starts pointing the finger of suspicion on the assorted characters in the narrative and hit the viewer like a ton of bricks when the mystery is solved.

Unfortunately, MANORAMA - SIX FEET UNDER doesn't make that kind of an impact. It's well shot, with stunning visuals to back it up, but, hello, isn't cinema all about narrating interesting stories in the most simplistic fashion? What value is the ambience or décor if the food served on the table is anything but delicious?

Let's get more specific! MANORAMA - SIX FEET UNDER takes off well, but faces turbulent weather in between and never gets it right thereafter. Instead of narrating an uncomplicated story, debutante director Navdeep Singh makes the goings-on so confusing that the viewer fails to decipher what's going on.

The story jumps from one track to another, adding to the confusion. Actually, the film fails on the script level since the sequence of events that lead to the finale are so confusing that it's difficult to fathom what exactly the problem was and how it got solved.

To sum up, MANORAMA - SIX FEET UNDER is a classic case of a film gone wrong due to a poor script penned by an amateur.

SV [Abhay Deol] is a government engineer, but his real ambition has always been writing detective fiction. Unfortunately, his maiden attempt, a novel called Manorama, sank without a trace and he has been reduced to writing for cheap magazines.

Stifled by the dreariness of small town existence and frustrated by his failure, SV's life takes a turn when the wife [Sarika] of a powerful local politician [Kulbhushan Kharbanda] arrives at his doorstep with an irresistible offer; the chance for SV to play a real-life detective by spying on her husband. Intrigued and tempted by the opportunity to redeem his self worth, SV accepts the offer.

Upon completion of his assignment, things take a turn when SV discovers that the woman is not who she claims to be. The situation gets further complicated when she is killed in a mysterious accident. Sensing foul play, SV begins investigating her death only to discover that nothing is what it seems to be…

Debutante director Navdeep Singh knows the technicalities well and aided by cinematographer Arvind Kannabiran, Singh comes up with visually enticing frames. But the writing is the cause for worry here.

What were the reasons that led to Sarika getting murdered? What was so important in those photographs that the powerful politician and his cronies wanted to lay their hands on? How relevant was the medical report of the politician with the main plot? How and when do Abhay and Raima get attracted towards each other? And was the politician a paedophile? Besides, how does everything gets solved in the end, with the politician getting his answers and Abhay walking away smiling? Question, questions and more questions. Confusion, confusion and more confusion!

The only departments that merit a strong mention are cinematography and dialogues, which cater to the intelligentsia mainly.

Abhay Deol pitches in a natural performance, but the performance is not as striking as his earlier works like AHISTA AHISTA and EK CHALIS KI LAST LOCAL. Vinay Pathak gets it right yet again. He's first-rate. Gul Panag is a fine actor, but what is she doing in this film? The role has no potential, except nagging her husband. Raima Sen is alright; her role should've been better defined. Kulbhushan Kharbanda does well. Sarika is hardly there.

On the whole, MANORAMA - SIX FEET UNDER disappoints. At the box-office, the lack of buzz as also the weak content will result in the effort going unnoticed.

Homage to the noir genre, Manorama Six Feet Under is about an amateur detective in a small town who finds himself caught in a web of lies, deceit and murder.

SV (Abhay Deol) is a government engineer but his real ambition has always been writing detective fiction. Unfortunately, his maiden attempt, a novel called Manorama, sank without a trace and he has been reduced to writing for cheap pulp magazines.

Stifled by the dreariness of small town existence and frustrated by his failure, SV's life takes a turn when the wife of a powerful local politician arrives at his doorstep with an irresistible offer; the chance for SV to play a real life detective by spying on her husband. Intrigued and tempted by the opportunity to redeem his self worth, SV accepts.

Upon completion of his assignment, things take a turn when SV discovers that the woman is not who she claims to be. The situation get further complicated when she is killed in a mysterious accident.

Sensing foul play, SV begins investigating her death only to discover that nothing is what it seems to be and that redemption doesn't come easy….