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[Sharmila-Sweet]

Kurbaan Film Review [SPOILERS]

First things first. Kudos to Karan Johar for shifting gears completely and entering into serious territory. Of course, we do love him for his K-class cinema: all his crunchy popcorn films beginning with K, ever since Kuch Kuch Hota Hai redefined mainstream romance. But Kurbaan doesn't need the popcorn at all. It keeps the screen on overboil for most of its screen time with its hard-hitting storyline that dares to venture into undefined territory.

Like Khuda Kay Liye, Kurbaan too looks at the other side of Islamic fundamentalism and puts the post 9/11 tumult in perspective. Who are these guys who carry anger in their hearts, revenge in their heads and bombs in their pockets? Why are they hell bent on blasting the world, irrespective of the anguish it spells to all and sundry? Can there be a purpose behind their madness? Is one man's terrorist actually another man's activist? Kurbaan, written by Karan Johar, raises these pertinent - and extremely topical - questions, without glossing over the one undeniable truth: a suicide bomber can never solve the inequities of the world, Palestine, Iraq, Afghanistan, notwithstanding.

So we have Ehsan Khan (Saif Ali Khan), the Pakistani who lost his wife and kid to American excesses, seething with a desire to avenge his loss. He isn't the archetypal, skull-capped, bearded fundoo, mouthing soliloquies on jihad and intifada (uprising). On the contrary, he's suave, sophisticated and a charmer, tutoring the world on the misconceptions of Islam in the modern world. Small wonder then he manages to win the heart of college professor Avantika (Kareena Kapoor) and follows her to New York on her stint with NYU. But the domestic idyll is short-lived as Avantika soon discovers it isn't her neighbours (the Afghani extended family, headed by Om Puri) alone who have suspicious antecedents. Husband Ehsan too is an integral part of the plot to bomb America for its excesses against Muslims, the world over.

In a classroom sequence, the film tries to put Islamic fundamentalism in perspective by linking the rise of the Muslim terrorist to America's oil-grabbing foreign policy and its questionable attempts at destabilising oil rich countries in order to remain a superpower. Almost every member of the sleeper cell that comprises the Afghan family has a sad story of loss and horror that drove them into becoming fidayeens (suicide bombers). And before you begin to question the filmmakers for going too lenient on terrorism, you find Avantika who remains a non-convert till the very end. Articulating the voice of reason - and non-violence - she questions her husband and oscillates between love and hate for the man who has fathered her child. A prisoner in her own house, her only hope is Riyaaz (Viveik Oberoi), the undercover journalist who has his story of personal loss that pitches him on the other side in this war. He is determined to fight the terrorists and derail their plot of bombing America.

Karan Johar's story has gravitas. Renzil D'Silva's narrative keeps you on the edge of the seat, for most of the time. Salim Suleiman's music score has a melodious feel. Hemant Chaturvedi's cinematography serenades both Delhi, where the Saif-Kareena romance blossoms and New York, where it cracks up. And the performances by almost all the lead characters are gritty. If Om Puri paints a chilling picture of the terrorist who masquerades in the garb of the commoner and Kiron Kher makes the myth of a suicide bomber plausible, then Viveik Oberoi lends credibility to the voice of the progressive Muslim. But it is the chemistry between Saif and Kareena that lights up the film as the duo bring to life a picture of passion and restraint as the doomed lovers. We do however wish their relationship had a stronger emotional graph, post the startling revelation. How did the duo contend with the fear, hate and disillusion that crept in after Saif revealed his true identity: a bit more on that? And a bit less in the length of the film which could do with some taut editing in the second half. Also, there are a few inconsistencies that mar the film's realism. Why does the FBI loom large like a know-it-all, do-it-all figure? Not only do the FBI sleuths always be a step ahead of the terrorists and arrest them without actually knowing who they exactly are, they also emerge unscathed in a suicide bombing attacking where almost everybody crumbles. Super Uncle Sam, did we say!
But Kurbaan sure does strike a chord and sets you thinking on stuff that needs to be sorted out before the new world order - a more humanitarian, less violent - sets in. Don't miss it.

A word about

Performances: Saif and Kareena transport their off screen tuning to the big screen. While their passionate encounters are a class in aesthete, their delineation of Ehsan and Avantika is mature, restrained and realistic. Om Puri, Kiron Kher and Viveik Oberoi are in sync too.
Music: While Salim-Suleiman have come up with an entire audio track which fits in with the ambience of the film, it is Shukran Allah and the title track, Kurbaan Hua which have lingering notes. More importantly, the songs blend in seamlessly with the story and have not been filmed as your run-of-the-mill song-dance numbers.

Dialogue: The conversation amidst the diverse protagonists has a realistic edge and seem straight out of life. It's only when he tries to explain the theoretical basis of Islamic fundamentalism that Anurag Kashyap, dialogue writer, seems to enter the realm of text-book knowledge. The exposition seems a rattling of newspapers headlines.

Story: Karan Johar explores new depths with his insightful story on the world's most pressing problem: terrorism.

Cinematography: Hemant Chaturvedi uses his camera deftly to create stunning vignettes of Delhi and New York, without losing out on the seriousness of the plot.

Styling: Kareena looks svelte in dresses and tights and brings to life a glamorous professor who dons the hijab with equal felicity. Saif is his usual dapper self, making casual seem haute.


TOI

[Sharmila-Sweet]

No One Killed Jessica

By Taran Adarsh, January 5, 2011 - 08:36 IST


Most storytellers entertain, a few enlighten. A scattering number of celluloid visionaries entertain as well as enlighten. Rajkumar Gupta fits into that exceptional variety of film-makers that opens up thought-processes about the condition of the homeland without losing the cinematic elements that constitute a film.

To reconstruct on celluloid a true occurrence that is oven fresh in public reminiscence is not a trouble-free mission, but Gupta takes up this colossal challenge of placing together the controversial and litigious story of Jessica Lall's murder case on celluloid. However, having sensitive and explosive material on hand is not enough. The execution of the subject is of paramount importance. Fortunately, the one-film-old director interprets the events of the murder case in remarkable style and form and makes it a cinematic experience that haunts you even after the film has concluded. Gupta does complete justice to the spirit of the story, which had created headlines and still remains well etched in our memory to this day.

Write your own movie review of No One Killed Jessica
A few monsoons ago, Rajkumar Santoshi's HALLA BOL commenced with a shootout sequence at a party. Of course, HALLA BOL wasn't about this incident alone, it was just a tiny segment in the narrative. NO ONE KILLED JESSICA focuses on this true-life incident [with no deviations] and its strength lies in the fact that it sucks you into the world of dirty politics and power games as soon as it unfolds.




NO ONE KILLED JESSICA is not Gupta's first and foremost endeavor at illustrating a real incident that shook the nation. Even in his directorial debut AAMIR, Gupta depicted a common man's [Rajeev Khandelwal] hard try at combating terrorism and violence. However, that was a work of fiction. But NO ONE KILLED JESSICA is a different ballgame altogether because reams of paper and hours of television footage have been devoted to this case. Thankfully, Gupta makes it an engaging thriller rather than relying on the docu-drama format.

NO ONE KILLED JESSICA belongs to the unique hard-hitting, gut-wrenching genre of cinema. Script-wise, the director has tried to remain faithful to the episode that occurred during that fateful night and also what transpired subsequently, but besides depicting reality on celluloid, he adds the thrill element to the plotline, which makes it very viewer-friendly. The events have been chronologically put forth and the daring story of two women who challenged the system hits you like a ton of bricks. The film truly celebrates the human spirit and also reflects a vital change in the society and in the attitudes of people.

Final word? This gutsy film deserves a standing ovation!

New Delhi, 1999. The guns at Kargil are still blazing when another one goes off, this time in the nation's capital. Jessica [Myra], a young attractive model, trying her hand at bartending, is shot dead at a celebrity party. Her crime - refusing to serve a drink after closing hours. The culprit Manish [Mohammed Zeeshan Ayub], son of a prominent politician, inebriated by a deadly cocktail of alcohol and a sense of entitlement, pulls the trigger in a fit of rage.

With 300 of Delhi's swish set present at the party, many of whom are witnesses to the murder, Manish looks all set to go to the gallows. Except that it doesn't quite turn out that way. But two women, Jessica's sister Sabrina [Vidya Balan] and the feisty TV reporter Meera [Rani Mukerji], decide to outwit Manish and his politician-father [Shireesh Sharma] at their game. Over the course of seven years, the case goes through several stages of legal complications. Witnesses turn hostile one after another and the few who don't, became inconsistent with their versions.

Manish is acquitted, leading to a fierce public uproar and a relentless campaign by the media, which eventually leads to a life sentence for Manish.

A film like NO ONE KILLED JESSICA pricks your conscience and makes you think. In fact, it's the kind of film that will lead to debates and discussions. What was more appalling - the model's slaying or the slapdash method in which the suspected assassins were brought to justice? What's even more scandalous is that almost immediately after the killing, the police identified the slaughterer and it seemed like an open-and-shut case. But it wasn't.

Gupta deserves kudos for choosing a thorny and contentious story to interpret on celluloid, but he deserves a few extra brownie points for handling the material with aplomb. His prowess and competence is visible all through the film, but more specifically in the electrifying courtroom sequences and also when Rani decides to take up this issue. The candle light protest at India Gate in particular is simply overwhelming.

Since it is based on a real story that occurred in Delhi, Gupta has shot the entire film in the city. The characters are real and so are the locations and that's what makes the goings-on very identifiable, besides bestowing an authentic feel to the film. Like his earlier film AAMIR, NO ONE KILLED JESSICA has been shot in guerrilla style and that makes the viewer feel that he's actually watching the drama unfold in front of his eyes, that he's a spectator in the proceedings. Gupta also ensures that the two pivotal parts remain true to their respective characters.

Any shortcoming? Yes, if Gupta would've trimmed the film by at least 10 minutes, the impact would've been much stronger.

A hard-hitting drama, generally, doesn't have scope for music. But Amit Trivedi joins hands with Amitabh Bhattacharya, the wordsmith with whom he delivered the fabulous soundtrack of DEV D, and together they deliver a solid soundtrack. 'Dilli Dilli' has already won hearts of audiences and the remaining songs too leave an impact. Anay Goswami's cinematography is first-rate. Dialogue, also penned by Gupta, are realistic to the core.

Gupta may be young and relatively new to the fray, but that does not deter him from getting the best and most appropriate cast for his second outing and I am sure, it's only thanks to a potent and persuasive script. Vidya has been basking in the glory of films like PAA and ISHQIYA lately, which gave her ample opportunity to prove her dexterity. She gets a wonderful opportunity to prove her prowess yet again. Vidya plays the iconic Sabrina Lall brilliantly, reliving some very stressful and arduous chapters of Sabrina's life. Balan is poignant yet controlled and projects an imposing figure of maturity, refinement and veracity. This film completes a hat-trick of her commendable performances.

In the role of a spirited and audacious journo, Rani, who smokes non-stop, flings swear words every now and then and who rebuffs being a voiceless spectator when the culprits go scot-free, is simply exceptional. She sinks her teeth into the character, giving it the much required pragmatism that it necessitates. Her performance is bound to be talked-about in days to come. In fact, it would be unfair if I do not acknowledge the fact that she appears very much at ease mouthing abusive words and lurid language.

Neil Bhoopalam, the key witness, is fantastic. Especially in the sequence when he comes for an audition of a film role and blurts out the truth unsuspectingly. Mohammed Zeeshan Ayub, the main accused, is very good. Myra, as Jessica, is natural. Rajesh Sharma, the investigating police officer, is excellent. Satyadeep Misra, as Rani's boss, gives a fine account of himself. Shireesh Sharma, the politician-father, is perfect.

On the whole, NO ONE KILLED JESSICA is a poignant story of two women's resolve for justice. It's a remarkable blend of facts and fiction inspired by a series of real-life episodes, which has thankfully not been presented as a tedious biography or in a mind-numbing docu-drama format. It's more of an engaging thriller which has the right doses of histrionics, tautness, anguish and thrills. The emotional and disturbing journey, the strength of the common man and the relentless endeavor of the media have all been most compellingly put together on moving picture. In times of yore, a lot of films have been attempted on real-life incidents, but haven't struck a chord so effectively. NO ONE KILLED JESSICA should shatter this jinx. This heroic and daring film truly deserves a prolonged applause.



4/5