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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]

Delhi Belly

By Taran Adarsh, June 30, 2011 - 12:37 IST


Much before I watched DELHI BELLY, I was told very categorically that the film will reduce to rubble the image of Aamir Khan, the producer, which he has very painstakingly and meticulously built over the years. I disagree with this viewpoint. Sure, Aamir Khan steps into a territory that is least expected of him. Agree, DELHI BELLY is expletive-ridden, has several scandalous moments which give you a 440 volt ka jhatka and is just not for the faint-hearted. But DELHI BELLY is not outrageous just for the sake of it. It doesn't shock for effect. The truth is, DELHI BELLY has a novel story to tell and the cuss words/outrageous moments are integral to the plotline and have been juxtaposed seamlessly in the narrative.

Write your own movie review of Delhi Belly
Let me introduce you to DELHI BELLY. It is Bollywood's most daring, cheeky, irreverent, blasphemous, raunchy youth film to date and the lurid content, I am certain, has never been witnessed on the Hindi screen before. Even some hugely popular reality shows that have the participants using the most appalling, colorful lingo to garner attention and TRPs, would pale into insignificance. Belonging to the same genre as THE HANGOVER and LOCK, STOCK & TWO SMOKING BARRELS, DELHI BELLY is the ultimate culture shock for Indian audiences. It is a raucous, boisterous, potty-mouthed caper featuring the antics of three hapless young men.




DELHI BELLY is a verbally explosive comical crime-caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like DELHI BELLY defies the stereotype and comes alive with a brand new recipe [writer: Akshat Verma]. The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colorful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of DELHI BELLY. It's a top-quality comical thriller made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

If a film like DELHI BELLY works -- which I am sure, it will -- it will propel film-makers to explore this untapped genre of cinema. It will encourage them to push the boundaries and undertake risks. It will usher in a new era of comedies of this kind that have never been explored on the Hindi screen.

Tashi [Imran Khan], Arup [Vir Das] and Nitin [Kunal Roy Kapur] -- flat mates, buddies and partners in crime. Tashi is to get married in a month to the glamorous Sonia [Shenaz Treasury]. Arun has been dumped by his girlfriend and also has an annoying boss [whose idea of creativity is sketching a smiling banana]. And Nitin is about to discover that eating delicious Tandoori Chicken off a street vendor is going to give him the worst case of Delhi Belly he's ever known!

Three regular blokes lead a regular life, except when they get on the hit list of a deadly crime syndicate [Vijay Raaz].

Director Abhinay Deo and writer Akshat Varma may have been inspired by the adult comedies of Hollywood, but DELHI BELLY is an Indian film at heart. The characters are very Indian and the humor, equally desi. As a matter of fact, there are situations and dialogue that the desis would take to instantly -- it's inherently Indian. Aimed squarely at the youth brigade, DELHI BELLY makes an undisguised, earnest attempt to woo this segment of moviegoers. What really works is its screenplay that packs one twist after another. You are as clueless as the on-screen characters about what's in store next. Also, the humor is very on the face and sardonic. It's not one of those humor-laden films that we've been subjected to of late. Here, the makers don't underline a joke, you need to be intelligent enough to comprehend it. This film speaks a language that the youth would connect with instantly and perhaps, it may go down as a cult film in its genre.

In terms of visuals, DELHI BELLY has been filmed at real locations and the DoP captures the essence of Delhi extremely well. The eye-candy locales are clearly missing here. Instead, what we get to watch are real locations, real lower middle class surroundings and the crammed bylanes of Delhi.

Much has been said and spoken about the music of DELHI BELLY. Let me add my bit. After delivering a likeable score in LUV KA THE END, Ram Sampat goes completely innovative and inventive with the soundtrack of this film. 'DK Bose' stands out and is the anthem of the youth. 'Jaa Chudail' is peppy and energetic, while the Aamir Khan track in the end credits ['I Hate You'] is more of a tribute to the disco era of the 1980s, when the Bappi-Mithun combo reigned supreme.

On the flip side, a film like DELHI BELLY may not be savored and relished by everyone. It's not for, what we label in filmi parlance, 'family audiences'. In fact, it might get a bit embarrassing to watch a film like DELHI BELLY with one's family thanks to the generous usage of expletives and toilet humor. Also, the hugely popular 'DK Bose' and 'Nakkaddwale Disco, Udhaarwale Khisko' songs merely play in the background and I for one sorely missed the eye-catching videos of these two tracks in the movie.

DELHI BELLY is a boy's film predominantly [although the women have key roles to play] and boy's films are always fun. The chemistry between the three actors is what makes the script come alive. In fact, I won't be wrong in stating that their sense of humor is very much in sync with each other. This is Imran's best work to date, no two opinions on it. Vir Das is incredible. Kunal Roy Kapur is the scene-stealer actually. As a matter of fact, the performances by these three actors will be the talking point once the film releases.

Shenaz Treasury acts well. Poorna Jagannathan gets into the skin of the character and catches your eye. Vijay Raaz is exceptional. Paresh Ganatra [the landlord] is equally competent. Rahul Singh is perfect. The Aamir Khan song is imaginatively filmed.

On the whole, DELHI BELLY is a ground-breaking and inventive comic caper targeted at the youth brigade. People who can't absorb brazen, grimy and unabashed language might abhor it; in fact, it's not for the straitlaced moralists or purists. It's for those who have a strong belly, with an appetite for adult comedy and cuss words. Its wittiness may astound and astonish you. I viewed the Hinglish version, but I understand that the Hindi interpretation of the movie is so impactful that it renders you speechless. Eventually, DELHI BELLY works big time predominantly for the reason that it's a pioneering motion picture, an incredible film that dares to pierce into an untapped and brand new terrain. The unblemished, racy screenplay coupled with super performances and a chartbusting musical score will make it a WINNER all the way.


4/5