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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]

Force

By Taran Adarsh, September 29, 2011 - 17:04 IST


Remakes are in! With fast-paced action entertainers reaping gold at the box-office, Mumbai-based film-makers are making a beeline for South, acquiring remake rights of films that work big time with audiences of all ages. A few decades ago, Jeetendra hit the pot of gold by working in some wonderful remakes [of South films] and the trend seems to have re-surfaced thanks to the successes tasted by Salman Khan and Ajay Devgn more recently.

With FORCE, John Abraham re-visits the genre [action] that he attempted in DHOOM. He has the physique and the persona to carry off the part and make the character believable. Remake of the Tamil hit KAAKHA KAAKHA, which starred Suriya and Jyothika, FORCE packs the punches, the kicks, the blood and the bruises in those two hours. Essentially a fight between the good and the evil, there's a restrained love story as well, which becomes the backbone of the plot.

Write your own movie review of Force
FORCE borrows from the masala films of yore that popularized Indian cinema in 1970s and 1980s. Love, romance, deceit, treachery, revenge, loads of action... FORCE has it all. Sure, you may find the plotline clichéd and predictable, but if the film manages to keep you hooked, if the twists and turns are truly interesting, despite the predictable path the story undertakes, the purpose is served. Thankfully, FORCE gets it right!




Yashvardhan [John Abraham] is a senior narcotics officer who doesn't play by the book, but always ensures that justice is served. He believes that the only way to eradicate crime is to give criminals the bullet -- not handcuffs. In the midst of his most dangerous and significant operation to crack down on India's drug cartels, Yashvardhan encounters a ruthless enemy Vishnu [Vidyut Jammwal], who will stop at nothing until he gets his revenge for the damage done to his business by the narcotics team.

Yashvardhan also meets the free-spirited Maya [Genelia D'Souza], whose love pushes him to make a choice between the life he already knows and the life he could have with her. Just when everything seems to be going right, the enemy strikes...

Director Nishikant Kamat has the viewers' adrenalin pumping in this engrossing crime drama. Velocity and technique are the essence of FORCE. Add to it sharp dialogues and raw action. Though the storyline is far from novel, it is these attributes that keep you engrossed. Also, this deadly cat-and-mouse game ends in a spellbinding climax. Very frankly, the film has some fairly engrossing moments in the first hour, but there are times when you feel restless. But the post-interval portions work big time. The penultimate half-an-hour is the best part of the enterprise. It packs a solid punch, especially the raw action sequence between John and Vidyut.

Nishikant integrates the songs well in the movie. Even otherwise, the songs [Harris Jayaraj] are tuneful and well choreographed [Bosco-Caesar]. Cinematography [Ayananka Bose] is a visual treat. But it's the raw action that stays with you. The action scenes [Allan Amin] are the type that will have the masses go in frenzy, especially these two sequences -- the chase [John chases Vidyut, soon after Vidyut attacks him] and also the finale confrontation.

From showing off his chiseled body to lifting a 120 kg bike, John is a complete revelation and gives an outstanding performance. Robust in looks and smug with self-confidence, the young man matures into a full-fledged action hero with this film. With the additional pounds of muscles to his frame, he looks very convincing as the Narcotics Officer. It is obvious that John has worked really hard -- honing his acting skills, concentrating on stunts and particularly on his physique.

Genelia is strikingly sweet and subdued. I genuinely feel that Genelia's an under-rated actress, who's capable of delivering if given an opportunity. Note the sequence when she proposes to John. It's a difficult sequence which Genelia carries off so well. Besides, the on-screen chemistry between John and Genelia is infectious. The villain, portrayed by newcomer Vidyut Jammwal, is a worthy opponent, who is the proverbial Evil pitted against Good. His persona is striking and his performance, excellent. This guy is here to stay and his performance will be talked-about when the movie hits the screens.

Mohnish Bahl is top notch, especially towards the final moments. Sandhya Mridul is, as always, highly competent. Amit Gaurr does well. Kamlesh Sawant is convincing. Mukesh Rishi is perfect. Raj Babbar doesn't get much scope. Ditto for Anaitha Nair, who is wasted.

On the whole, FORCE is an engrossing story of vendetta and the execution of the material makes it stand out in the crowd. The film has the requisite amount of zing and force, so essential for action movies that talk of heroism. If you are looking for a sensible masala film with substance, FORCE should most definitely figure on your agenda. Recommended!


4/5