Review

• 

  Manisha Lakhe

  -April 29, 2011

  FilmOrbit

  the heart of this movie is so big, you won't find too many critics actually telling you to skip it and see something as vapid as Naughty at 40 or Chalo Dilli even. it is the story of four people who have had a raw deal.
  
  
  
  afia, whose husband leaves her for another woman mostly because...

  the heart of this movie is so big, you won't find too many critics actually telling you to skip it and see something as vapid as Naughty at 40 or Chalo Dilli even. it is the story of four people who have had a raw deal. afia, whose husband leaves her for another woman mostly because she goes on and on about wanting a kid is shocked to see her husband promptly having a child with the other woman... interesting premise for drama just squandered away by presenting us with an option written to scandalise. pointless. megha's story takes you to Kashmir, and as all stories on Kashmir go, you end up taking sides and the suffering takes a back seat. And just when you expect chunks of silences in this story (marred by an occasional bullet) you are smothered with a background score that is so moody you want to jump into the lake. there is no respite from the music. aaargh! Abhimanyu's story is scary. and organisations like RAHI can offer you statistics on abuse. but the story goes on and on and on until you want to scream and say, 'so we got the point, now what?' It reminded me of a short film on AIDS called 'Positive' made by Farhan Akhtar for the Bill Gates Foundation where a son's relationship with his father is beautifully depicted. The son hates his father (he has seen his dad take advantage of the starlets who he photographs) and has to come to terms with his illness and death... Abhimanyu's story though multi-layered, does gets stuck like a broken record and then jumps off the cliff at the end. Omar's story is the best thing about the movie and unhesitatingly wins my vote in the best dialogue exchange, best treatment and even though the twist is predictable, Rahul Bose kills it with, 'what i lost that night...' I would pay money to see this film. But then it might be a challenge to say go see it in the theaters. The stories, though real, are too remote. Not exactly 'Metro... Life in the city' The film studies crowd will like the nuances and the pace. Junta might not. Sometimes the heart wins over the moolah in the pocket. But only sometimes.

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