What will you get if you binge watch Marvel’s Daredevil and Blind Fury (1989) and then decide to make a film the next day? Kaabil will be the obvious result and it seems that director Sanjay Gupta did the same, as you get elements of both, the TV show and the film, in his flick. However, what stands out is Hrithik Roshan’s acting; he plays a sightless man who takes revenge in his own way – by making life difficult for those who pushed him towards such an action.
Kaabil is the story of a happily married, visually impaired couple Rohan (Hrithik) and Supriya (Yami Gautam) who live in a society where most of the people care about them – except for a couple of goons led by Amit (Rohit Roy). The goons rape Rohan’s wife and Amit’s elder brother (Ronit Roy) ensures that his brother doesn’t get punished for his crime. After failing to get justice, Rohan decides to take matters in his own hands and learns about the rapists and their supporters, making them pay for their misdeeds. What makes his revenge interesting is that he is a visually impaired man in the world of sighted people and he also sort of ‘informs’ the police that since they failed him, he will seek justice, his way.
What makes Kaabil a good watch is the fact that both the lead actors play visually impaired people and convince the audience that they really can’t see anything. Yes, there are a few sequences that could have been edited to make the film short and less dragged (the mall scene and the shoe shopping one), but Hrithik makes it up to the audience by doing justice to his character. When he danced, he might not have been as good as Al Pacino was in Scent of a Woman but he created a different persona. Most of the story was inspired from Blind Fury and Daredevil but with Hrithik around, you are always in for a treat. Yami Gautam also stands her ground in front of her superstar colleague and gains sympathies from the audience with her performance. As for the villains, whoever cast real life brother Rohit and Ronit Roy as onscreen brothers was a genius as they fitted the characters well. No one else could have been convincing as two brothers – one who is non-serious and the other who is too serious.
Music director Rajesh Roshan may have been in the business for more than four decades but he hasn’t lost his magical touch, which is quite visible in the movie’s songs. The remake of Saara Zamana didn’t fare better than the original although the item-song feel may have made some people love it. Kaabil Hoon and Mon Amour were pleasing to the ear and if you add Hrithik’s killer moves, it becomes a complete package, while background score keeps the audience engrossed, especially the signature theme that makes its presence felt when the wrongs have been avenged.
The problem with Sanjay Gupta is that he doesn’t make original flicks and Kaabil reminds you of many films where the leading man is blind. Be it a Korean or Hollywood film or a TV show, he blatantly incorporates inspirations in his movies which is not good for someone who has the capability to make films of international level in India. The dialogues by Sanjay Masoom and Vijay Kumar Mishra were impressive and it is due to the amalgamation of all – dialogues, music, acting and direction – that you come out a man who has got his money’s worth. Waiting for the day when Sanjay Gupta makes an original flick because deep down even he knows that in order to prove himself, he has to do that sooner than later.
Kaabil is a good watch because both the lead actors play visually impaired people and convince the audience that they really can’t see anything.
Mome find Karan Johar’s film deplorable while others find them close to reality – Ae Dil Hai Mushkil is exactly that kind of film, as some loved it and some did not. For me, it was one of his finest works because he recently disclosed that it is based on two of his breakups in life and that he has tried to make it both entertaining and dramatic for the audience. It’s one of those kind of films where the story stays in the background and the characters take the driving seat as they steer the flick as per their actions, instead of the plot.
Alizeh (Anushka Sharma) and Ayan (Ranbir Kapoor) become close friends after their breakups and while Ayan loves Alizeh, she doesn’t love him back in the same way – but only as a friend. She reconciles with her ex DJ Ali (Fawad Khan in an extended cameo) and invites Ayan to her wedding, where he confesses his love for her. After he parts ways with Alizeh, he meets a stunning poetess Saba (Aishwarya Rai Bachchan) who falls in love with him and they are inseparable until one day, Alizeh returns. Does Ayan go back to his first love or stays with her ideal partner; the rest of the story keeps you engrossed till the end.
Acting is always the strength of Karan Johar’s flicks especially the ones he directs and here, none of the actors disappointed – even the ones who had a small role. Imran Abbas and Lisa Haydon’s cameo appearances weren’t blink-and-miss-it and they had an impact on the storyline. Fawad Khan looked sexy in his limited appearances as compared to Ranbir, whereas Aishwarya makes you fall in love with her – she is still that breathtakingly beautiful. Ranbir was at his best as someone who cries after his breakup, then tries to become the lover of his best friend and finally becomes a YouTube sensation after his heart break. His character progresses with the film and he keeps the audience mesmerised with his brilliant portrayal of a heartbroken lover.
The highlight of the film is the soundtrack and Pritam should be commended for understanding the pain of the lead character who sang Bulleya (Amit Mishra), Ae Dil Hai Mushkil and Channa Mereya (Arijit Singh) and these songs helped in the development of his character. There were mentions of Noor Jahan as well and most of the script was in perfect Urdu because at first, Aishwarya and Anushka were supposed to be either Pakistanis or Muslims, which later changed to Indian Muslims from Lucknow. On the whole, it’s a good film for people who are young at heart because the elderly cannot grasp the pain of the leading man and his dalliances with the most beautiful ladies.
It’s one of those kind of films where the story stays in the background and the characters take the driving seat as they steer the flick as per their actions, instead of the plot
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