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Sanjay Masoom
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Movie Review
Kaabil:The Unseeing Hero


(Director: Sanjay Gupta   Writers: written by Vijay Kumar Mishra*, dialogue by Sanjay Masoom ) 

 

With this one, beta Roshan has proved he can carry a film on his shoulders and papa Roshan has proved he will stop at nothing to make a film technically superior, while Sanjay Gupta plays the kaante (pun intended!) between the duo.

Kaabil is the story of two visually challenged people, Rohan (Hrithik Roshan) and Supriya (Yami Gautam) who meet and fall in love and hope to have the happy-ever-after. Unfortunately, baddie Amit (Rohit Roy) thinks otherwise and rapes Supriya, secure in the knowledge that his real and reel bade bhaiyya who is the requisite local corrupt politician Madhavrao Shellar (Ronit Roy) will pick up the pieces. Supriya commits suicide and Rohan swears revenge, not letting a petty thing like his blindness deter him, and the vendetta sets the pace post interval.

This sort of script is a first for director Sanjay Gupta who is more familiar with action potboilers, the most notable being ‘Kaante.’ And so it proves; the first half is pallid, at best, with some insipid romance between the lead pair. It is actually from the scene in the auto rickshaw post the rape that both Gupta and Roshan junior come into their own. The vendetta is slick and masterful, with quick, angry violence in trademark Gupta style.

Along with action, Hrithik emotes quite wonderfully, while the only song that allowed him to show off his dancing skills (mon amore) proves that he ain’t lost none of his moves. The defeated, tired expression on his face after Supriya’s suicide is priceless. Face is looking a bit puffy, though.

One confesses to being surprised at the choice of a Yami Gautam pitted against a Hrithik Roshan. When did she hit the big league?? Whatever – she had her chance and she fluffed it; a lot of simpering and inane grins. Narendra Jha as inspector Chaube is competent, however, it is Girish Kulkarni as inspector Nawale who shines. Rohit Roy has really worked hard to get the rough Marathi patois down pat and he’s good; not his fault if he was handed clichés.

 

Despite the able baton of Rajesh Roshan, the music is not particularly outstanding, although ‘mon amore’ sung by Vishal Dadlani is peppy. Papa Roshan also roped in Oscar winner Resul Pookutty for the sound design, which is quite fantastic; absolutely apt without being jarring. The background score is by Salim-Suleiman. ‘Kaabil’ also has the ‘saara zamaana’ song reprised; terrible choreography.

 

Papa and producer – in dual roles – Rakesh Roshan always makes sure he brings nothing but the best to a project. The most minute attention is paid to every detail; if there are any shortcomings in the movie, it’s not from the production side. The special effects as well as the cinematography are magnificent in the burning godown scene; surprisingly, cinematography credits are shared by Sudeep Chatterjee (earlier worked on ‘Guzaarish’) and Ayananka Bose (earlier worked on ‘Kites’). One sees Akiv Ali back with the scissors after a long time and, as usual, he doesn’t disappoint. Editing was spot-on.

Written by Sanjay Masoom and Vijay Kumar Mishra*, the script and dialogues are pretty much a wash-out. The lines are so banal that they make one cringe; too much has been made of the blindness, with crude, overt jokes on blind people that is in very poor taste.  I would venture so far as to say that Sanjay Gupta probably had a hand in how the story was shaping out post interval, which is how the latter half of the movie is tauter.

 

 

(*Photo unavailable.)



   Punam Mohandas

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