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Nitesh Tiwari
Screenplay Dialogue


Shreyas Jain
Screenplay-Dialogue


Nikhil Mehrotra
Screenplay - Dialogue


























Film Review
Kill/Dil:Kill/Time


Kill/Dil

Kill/Time

Spoiler Warning - This review discusses Screenplay of the film in detail which also includes most twists & turns of the story. Please consider this before you go ahead and read the review.

The first problem one notices with Kill/Dil is that the narrative appears hurriedly addressed towards the second half making the film not half as good as the supply of talent it oozes with. Probably also because parts of the film have been seen in other films, worst one very recently, the plot lacks novelty and struggles to keep the audience engaged.

The first half resembles very much with Gunday and Desi Katte wherein two orphans grow up to become hardcore criminals. Here they are rescued as infants from trash bin by Bhaiyaji (Govinda). Bhaiyaji himself a Supari killer, rears them up like him. The duo of Dev (Ranveer) and Tutu (Ali Zafar) works very efficiently for their father-like Bhaiyaji executing Suparis without any issues. Cops are not seen anywhere even for token representation. So killings happen unabatedly, till one day when Disha (Parineeti) intercepts their lives and Dev falls for her. In a good girl’s company, Dev is not able to execute Suparis anymore. But Bhaiyaji won’t let him quit.
Hence the conflict - Kill/Dil - Kill or Dil?
Naturally Dev goes with Dil..and takes up an Insurance sales job to leave Bhaiyaji. But Tutu suggests a way out to keep both Bhaiyaji and Disha happy. Dev will accompany Tutu while Tutu executes Suparis and in his remaining time Dev would continue with his insurance job plus of course romance. Eventually Bhaiyaji discovers Dev’s other life and plays a trick which exposes Dev's criminal past to Disha and she dumps him.

Now the Problems that KILL the screenplay –

  1. The biggest problem is that we empathize with the character we should not and do not empathize with the characters we should. Bhaiyaji’s character has been shown in such a way that you really empathize with him. How empathizing with a character becomes a screenplay weakness? Bhaiyaji is the antagonist, when you identify with him, then you don’t like Dev dumping him for the girl. Bhaiyaji celebrating Diwali alone, skipping dinners for Dev and even going to an extent of killing his side-kick to get Dev back, makes you want Dev to come back to him. But the plot goes in the other direction, contradicting the screenplay. This is compounded by the characterization of Disha who is dominating and has everything hunky-dory in her life. She comes like a bossy superior whom Dev follows happily. Upbeat Disha fails to evoke empathies vis-à-vis down Bhaiyaji. Moreover there is no big conflict in Dev's mind at all for Bhaiyaji. He very easily goes after the girl without bothering much for someone who brought him up. There is no build-up at all around the title conflict Kill/Dil.This takes away the possible 3rd dimension of the Protagonist Dev's charcater. Charcaterization of the key characters spells Kill for the screenplay.
  2. There are other small Kills too like, Dev agreeing to go for the supari assignments with Tutu but not executing the Supari himself. This is a problem albeit not so big for creative craft, but as how do you justify this. If we go by law and logics an accomplice is equal partner in the crime. How will he stay innocent if he is standing while someone is killed and on top of it he is also sharing the Supari fees? Why he acccepts this conveninet arrangement is confusing as what kind of character he is. He isn't true to himself, Bhaiyaji or Disha. He is hiding Bhaiyaji's chapter with Disha and vice-versa.  And has no problems (or internal conflict) with such life, instead he goes on romancing Disha whenever she allows.
  3. Disha works for an NGO which rehabilitates ex-prisoners. When she learns about Dev, she knows clearly it was Dev’s past and not his present. Her dumping him looks unconvincing given her NGO background. There was an opportunity of her having an internal conflict also to practise what she preaches. This Kills the possible 3rd dimension of her character too, making her flat.
  4. The third act prints the Kill Bill completely. Disha comes back when Dev sends a video clarification to her and gets shot himself. If only clarification was the remedy then its postponement to carry out other things looks bit convenient. Also planting a new baddie in the 3rd Act just to end Bhaiyaji’s track too looks convenient. Come on defeating Bhaiyaji can’t be a cakewalk that too in his own den, given the build-up around Govinda in & outside the film. A big turn off for his fans.  
    This resolution also separates the two aspects of the central conflict and concludes them independently, Killing an opportunity of building the drama to a crescendo where two aspects of the central conflict instead could have made to clash!!       

Coming to the goodies the film has to offer. Dialogues are the best aspect of Writing here.
One-liners keep you entertained all through by their wit, fun and sharpness. The PP1 comes pretty late untill then the film totally relies on the dialogues & performances. There is some dialogue-bazi too, if you like that. You may love to sink in the nostalgia of Gulzar’s signature style of poetry. The performances by all the lead actors are impressive. Don’t know if Parineeti’s fleshy face is intentional to suit her overbearing character. But I would still prefer KILL/FLESH looks of Parineeti..

Pressure to deliver sometimes becomes KILL/OPPORTUNITY when inspite of having best things at disposal we are not able to meet the expectations people have with our Brand.

Nevertheless, it is always a good one time watch film. At least a good Kill/Time if nothing else.

 



   Sanjay Sharma

Critic who loves to appreciate. https://www.facebook.com/profile.php?id=1754709196

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