Directed by Ram Gopal Varma
Written by Rohit Banawlikar
Think of the best RGV film, personally. Satya, Company, Sarkar, Siva… Now, take any one of those films and get a smaller camera in place. One on side you have frames worth pausing and staring at and here we have frames worthy of an attentive stare in the passing sequence of hand held images. Performances you want to imitate on one side and glimpses of such moments in this new film.
You know of the man’s loud soundtracks, crazy frames and sequences where his intentions about the leading lady are very clear. He stays true to those parts of him except for the hurried and hence irritating camera work at times.
Unlike his last script less adventure with the digital camera, this one had an idea of where it’s going to start and where to go from there. Though patchy in parts (few of those sequences where you might just ask “Was the director on location when this was shot and was he sober?”), the screenplay was good enough to hold you till the end.
Mahie Gill (playing Anusha Chawla) did have certain talents she could’ve showcased only if the camera had gotten off her vital statistics (extreme close ups which hadn’t even tried to be morphed as one of those artsy frames). But in the midst of this jittery and experimental digital film making, the actors were the ones who kept it alive. Zakir Hussain (playing the cop) in particular holds you better than he did in Sarkar.
And with a director who understands the camera better than most our cinematographers, some of the sequences were a joy to watch. A conversation Anusha has with her friend with the new body mounts was one such.And the one thing that might just make you leave the theater smiling is the digital’s final frame. The smooch and the freeze frame that follows almost recreates the Bonnie and Clyde glory.
Also, Deepak Dobriyal is one name you would want to mention if you are telling someone about this.