Tag Archives: Anupam Kher

Movie Review: Total Siyapaa (2014)

Total_Siyappa_poster1.5 Stars (out of 4)

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Total Siyapaa (“Total Chaos“) could’ve been a cute romantic comedy about the power of love to overcome cultural differences. Instead, the level of humor never rises above ethnocentric cheap shots. It’s a missed opportunity.

Ali Zafar plays Aman, a Pakistani musician who’s on the receiving end of nearly every abuse one could throw at his country. He arrives in London to meet his girlfriend, Asha (Yami Gautam), only to be arrested by a white police officer who suspects Aman of being a terrorist.

Things get worse when Aman meets Asha’s family. They really, really, really hate Pakistanis. In fact, the only defining characteristic of Asha’s younger brother, Manav (Anuj Pandit), is his hatred for and desire to kill Pakistanis. Naturally, Asha failed to tell anyone in her family whence Aman hails.

Once Aman meets the family — headed by a matriarch played by Kiron Kher — there are plenty of opportunities for situational comedy. Aman’s behavior grows more erratic due to his social discomfort and his realization that he may have accidentally killed Asha’s father, who was hit in the head by a container of frozen soup Aman dropped out the window.

Asha’s mom gamely tries to overcome her prejudices and accept Aman for her daughter’s sake, even as Aman’s goofy antics make it hard to understand what Asha sees in him. The film’s most successful scenes feature Kher and Zafar, who share a nice comic chemistry.

Over and over the jokes in Total Siyapaa return to slams against Pakistanis, well after the film has exhausted that humorous vein. The climactic argument that nearly drives Aman and Asha apart involves them shouting nationalist insults at one another.

For good measure, the white cop from the beginning of the film returns near the end to refer to a mixed group of Indian and Pakistani young men as “stinky terrorists.”

The whole experience feels like being stuck at a family gathering while an elderly relative tells a series of vaguely racist jokes, heedless of the uncomfortable expressions on the faces of his audience. There’s not much point in speaking out, since it’s not like you can change his mind, so you just sit there and wait for the joke teller to either run out of material or get up to refill his beverage.

As Total Siyapaa plods along, it’s easy to see how the movie could’ve been better. It has a solid fish-out-of-water premise; it has some decent visual gags; and it has tried-and-true comic actors in Kiron Kher and Anupam Kher, who plays Asha’s father.

If only director Eeshwar Nivas and writer Neeraj Pandey had dialed the Pakistani jokes way back after the first half hour, Total Siyapaa could’ve been pretty good.

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Movie Review: Aurangzeb (2013)

Aurangzeb3.5 Stars (out of 4)

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Aurangzeb should not work. The premise is silly: a long-lost twin impersonates his brother to take down their father’s criminal empire. Yet writer-director Atul Sabharwal executes his vision with such sincerity that the movie succeeds. I unapologetically love this action soap opera.

Sabharwal worked in television before this, his feature film debut, and it shows. There are so many twists and turns in the plot that it feels like a full season of a TV series condensed into one 140-minute movie. Aurangzeb: The Series would fit right in alongside The Vampire Diaries on The CW.

Arya (Pritviraj Sukumaran) — the film’s narrator — has a troubled relationship with his father, a disgraced police officer played by Anupam Kher in a moving cameo. Because of his father’s emotional distance, Arya was primarily raised by his uncle, Ravi (Rishi Kapoor), a crooked cop.

On his deathbed, Arya’s father confesses that he has a secret wife and son that Arya is now obligated to take care of. Arya resentfully breaks the news to the woman, Veera (Tanvi Azmi), only to realize that her son looks exactly like the son of the criminal mastermind, Yashwardhan (Jackie Shroff).

Uncle Ravi realizes that Veera and her son, Vishal (Arjun Kapoor), are Yashwardhan’s wife and son, presumed dead for the last 25 years after a “botched” police shootout that cost Arya’s father his job. In order to clear his father’s name, Arya and Ravi conspire to kidnap Yashwardhan’s son Ajay (also played by Arjun Kapoor) so that Vishal can impersonate his identical twin brother while acting as a police informant. Ravi explains that Vishal must act like Aurangzeb, the Mughal emperor who gained his throne by defeating the brothers ahead of him in the line of succession.

The soapiness of the story is enhanced by an amazing soundtrack. Heartrending musical themes accompany Veera’s confessions to her sons. Bombastic rock blares when Ajay (or Vishal) strides into a room, ready to bust some heads. Thankfully, the soundtrack album includes several of the great instrumental songs by Amartya Rahut and Vipin Mishra.

As with any good soap opera, the film is really about family conflicts: brothers turned against one another, children resentful of their parents’ favoritism, and parents who feel they can’t express their feelings to their hot-headed sons. Arya hates Vishal because of the love his own father showed the gangster’s son. Vishal hates his mother for robbing him of a relationship with his biological father. Ajay hates everybody.

As in his debut, Ishaqzaade, Arjun Kapoor plays a scumbag, and he’s great at it. Ajay is loathsome almost beyond the point of sympathy, yet the hurt behind his lashing out is always obvious. Vishal undergoes some real character growth as he, too, as his timidity gives way to aggression.

Pritviraj puts Arya in a similarly precarious position to Ajay’s. One of Arya’s early scenes has him belittling his dying father, so it’s hard to love him. However, it does give him room to grow when he’s forced to choose between his father’s “family first” approach to morality or his uncle’s belief in success at any cost.

Rishi Kapoor is compelling as the head of a family of corrupt cops. Ravi’s son, Dev (Sikander Kher), is involved in the family business, too, and gets to do some sleazy stuff.

Jackie Shroff plays the most sympathetic of the movie’s flawed father figures. Yashwardhan is old enough that he’s not the fearsome thug he once was, making it hard for Vishal to reconcile the man before him with the villainous image he was sold.

The movie isn’t all emotional turmoil. There are plenty of cool fight scenes to keep things entertaining, and it’s impressive how well they integrate with the melodrama. This kind of action-soap opera can’t succeed if it’s done halfway, and Sabharwal goes all out. Aurangzeb is exciting, touching, and totally engrossing.

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Movie Review: Midnight’s Children (2013)

MidnightsKids2 Stars (out of 4)

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Midnight’s Children takes the fascinating history of India since Partition and muddles it up with a bizarre personal story that’s impossible to connect with.

The events of the film — which are narrated by Salman Rushdie, who wrote the novel on which the film is based — begin well before Partition, starting with the meeting of the main character’s grandparents in Kashmir, 1917. They raise their children, including Mumtaz (Shahana Goswami), the main character’s mother. She has a brief, fruitless marriage to a man named Nadir before she marries the main character’s father, Ahmed Sinai (Ronit Roy) and changes her name to Amina. The first marriage becomes relevant later when the parentage of the main character, Salim, is called into question.

There’s good reason for this, since Salim is not the Sinais’ biological son. At the very moment the British left India and divided it into India and Pakistan — midnight, August 14, 1947 — two boys were born in the same hospital: the Sinais’ biological son, Shiva, and Salim, the son of a busker whose wife dies in childbirth. Inspired by her revolutionary boyfriend, a nurse named Mary (Seema Biswas) switches the boys, forcing the rich boy to grow up poor and making the poor boy rich.

After the boys go to their respective, incorrect homes, Mary feels guilty. Not guilty enough to confess, mind you, but Mary becomes Salim’s nanny so that she may watch over the boy. She also watches Shiva beg outside the Sinais’ mansion every day.

There are practical reasons for her to choose the path she does, but Mary’s act of penance seems cruelly inadequate. Rather than helping the boy she doomed to a life of poverty, she makes things even easier on the boy whose life was likely going to be a comparative piece of cake.

As the boys grow up, they discover that the hour of their birth gave them (and thousands of other kids born on the same night) magical powers. It’s unclear what Shiva’s powers are, but Salim can summon visions of the other “midnight’s children” by sniffing. It’s not as cool as the superpower of a girl named Parvati, who can make things disappear.

The superpowers aren’t really important to the story, until they are used as an excuse to round-up the now-adult “children” during Indira Gandhi’s rule-by-decree in the mid-1970s. Salim admits in his narration late in the film that things didn’t work out as well for “midnight’s children” as they had hoped. So, a thousand kids with freaking superpowers are no match for India’s internal conflicts and perpetual problems with Pakistan. What a depressing sentiment.

While the idea of paralleling India’s troubled progress with the lives of two of its citizens is compelling, the magical realism isn’t well-integrated into the story, and it keeps the audience at arm’s length. Also, Salim’s constant runny nose is gross. The story would’ve been more interesting without the magic.

The film boasts an impressive lineup of actors who typically perform in Indian films, but fans of traditional Bollywood fare should watch the film with caution. There’s a fair bit of sex and some nudity, plus coarse language. This is not a film for the whole family (not to mention that kids would be bored out of their mind by the movie’s plodding pace).

Another note of caution is that the performances are uneven. Seema Biswas and Shahana Goswami at terrific as always, as are Ronit Roy and Soha Ali Khan, who plays Salim’s little sister, Jamila, as an adult. But Anupam Kher and Rahul Bose are over-the-top as Salim’s great-grandfather and uncle, respectively. They’re the most obvious examples of a distracting strain of quirkiness that pervades the film.

Worst of all is British actor Satya Bhabha as adult Salim. His intense performance seems more suited to the stage than to film. With so much weirdness inherent in the story, a strong main character is needed to anchor the movie. I’m not sure if the fault lies more in Bhabha’s performance or the way Salim is written, but, either way, Salim isn’t a strong enough anchor.

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Movie Review: Chashme Baddoor (2013)

Chashme_Baddoor_(2013_film)_Poster3 Stars (out of 4)

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Chashme Baddoor is an enjoyable comedy, and I’m not just saying that because Ali Zafar is adorable. And his hair looks so soft. And when he smiles, I feel like I’m floating.

Knowing that David Dhawan is responsible for both the film’s direction and updating the screenplay from 1981’s Chashme Buddoor, I expected the film to be as crude and tedious as some of his other recent comedies, like Rascals and Do Knot Disturb. Though it has a few annoying elements, Chashme Baddoor is a sweet, funny film about the ways love can interfere with friendship.

The plot focuses on three best friends living it up in Goa: bookish Sid (Ali Zafar) and two aspiring Lotharios, Jai (Siddharth) and Omi (Divyendu Sharma). Their landlady, Ms. Josephine (Lilette Dubey), and the tough-guy owner of the local bar, Mr. Joseph (Rishi Kapoor), can’t understand why a guy with as much potential as Sid hangs out with two losers.

The film introduces Jai and Omi first, which is something of a mistake, since they’re not as likeable as a Sid. The apparent risqué humor of Omi’s romantic poetry doesn’t translate well from spoken Hindi into English subtitles, and Jai is too brash. Their antics are often accompanied by irritating musical cues that had me reaching for my earplugs.

Jai and Omi take turns trying to woo the cute new girl in town, Seema (Taapsee Pannu). Both flame out, but conceal their failure from each other and Sid, inventing stories of romantic conquest. When Sid — having never seen Seema before — falls for her, Jai and Omi conspire to break the couple apart before Seema can reveal their rebuffed flirtations and subsequent lies.

More than just a pretty face, Zafar does a fine job playing Sid as a regular guy. He’s shy, but not mousey; scholarly, not nerdy. Sid’s presence has a calming influence on his buddies, and Omi and Jai are at their best when they’re with Sid.

Pannu likewise does a fine job with Seema, who is feisty without becoming a shrill caricature. She’s youthful but a bit more worldly and confident than Sid, enough to lead him to believe that she could be a lot more worldly than him.

Anupam Kher plays a double role as Seema’s father and uncle. Kher’s characters are even more outrageous than Omi and Jai and are accompanied by even noisier sound effects. This isn’t my favorite performance by Kher.

Kapoor and Dubey, however, are very cute as Joseph and Josephine, a pair of single adults whose courtship is heartwarming. Their story could’ve been more thoroughly integrated into the main plot, but they are delightful every minute they are on screen.

Even during its darkest moments, Chashme Baddoor never gets too dark. When romances and friendships are at risk of falling apart, there’s always a sense that the relationships can be saved, because the characters are all good at heart. This is unapologetic light entertainment that succeeds because it maintains a carefree air throughout.

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Movie Review: A Wednesday (2008)

A_Wednesday_Poster2.5 Stars (out of 4)

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A Wednesday has been recommended to me many times since its release in 2008. After enjoying writer-director Neeraj Pandey’s sophomore effort, Special 26, this seemed like the right time to finally check out his debut film.

I can see why A Wednesday — a story about a common man trying to correct the inadequacies of India’s sprawling bureaucracy — still resonates with people. It has great populist appeal. I think I would’ve enjoyed it more had I seen it before Special 26, which is more polished than A Wednesday. Nevertheless, A Wednesday is enjoyable and full of the dramatic tension that Pandey is so good at creating.

The film begins with Police Commissioner Prakash Rathod (Anupam Kher) reflecting on the most challenging case of his career, on the day before his retirement. I’m not sure why Pandey has Rathod specify that this is his last day on the job. It’s not important to the plot, and it draws an unwelcome parallel to Robert Duvall’s character in the 1993 common-man’s-revenge film Falling Down.

The case Rathod is referring to involves the harrowing events of a Wednesday afternoon at some point in the not-to-distant past. An anonymous caller claims to have placed bombs throughout Mumbai that will explode in about four hours unless Rathod releases four terrorists from prison. Rathod assumes that the caller — an unnamed man played brilliantly by Naseeruddin Shah — is another terrorist, but the truth is more complicated than that.

While trying to find the man behind the calls, Rathod dispatches two officers to carry out the bomber’s orders: straight-laced Jai (Aamir Bashir) and loose cannon Arif (Jimmy Shergill). Shah’s character enlists an ambitious news reporter, Naina (Deepal Shaw), to serve as his eyes on the ground. Naina feels conflicted about aiding a possible terrorist, but breaking this story will get her off the dreary local news beat.

The story is tense, as Rathod tries to connect the dots while helplessly giving in to the caller’s demands. There’s great dynamism in Pandey’s shots. Though many of the scenes take place inside the police control room, there’s a lot of movement. Rathod stalks the hallways; officers spring to life when the latest call comes in; Arif chases down a suspect who might have the final clue to the caller’s identity.

As well-paced as the story is, there are a lot of rookie directorial mistakes that detract from the film’s overall effectiveness. Fight scenes seem shoehorned into the script, and the sound effects that accompany them are cheesy. Unable to trace the phone calls, one of the police officers makes the corny declaration: “We need a hacker!” When Shah’s character finally reveals his motives, he does so in a well-delivered but long speech that stops the film’s momentum. The ending was a bit of a cop-out.

Perhaps the most distracting mistakes Pandey makes are in the inclusion of a number of ineffective red herrings that remain loose threads at the end of the film. It’s implied that Jai and Arif have a preexisting beef, but this is never explored. Jai gets several phone calls from his wife, who’s traveling with their son on a train. Though she could be in danger, Jai never warns her to stay off the train, though he does worry that she’ll be concerned for his own safety if she sees him on the news coverage of the crisis.

During his confessional speech, Shah’s character reveals a personal motivation for his actions. It seemed as though this disclosure would explain why he chose Naina to cover the story, but there’s ultimately no connection. Her selection is completely arbitrary.

While I enjoyed A Wednesday overall, these mistakes stood out because of their absence in Special 26. That’s actually a compliment, as it means that Pandey has honed his storytelling to augment his flair for narrative tension. Seeing Pandey’s professional growth between his first and second films leaves me very excited to see his third film, whenever that day comes.

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Movie Review: Special 26 (2013)

Special_Chabbis_movie_poster3 Stars (out of 4)

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If the movies have taught us anything about being a professional thief, it’s to never openly declare that you’re going to retire after “one last job.” This final job is always more risky and complicated than any previous job, and your odds of getting caught are much higher than normal. Better to take your present pilfered earnings, move to Aruba, and spend the rest of your life on the beach.

Of course, the main characters of Special 26 (also written as Special Chabbis) fail to heed the lesson of countless movie thieves before them and find themselves on the verge of retirement with the Central Bureau of Investigation (CBI) breathing down their necks. They may be foolish, but their exploits make for an entertaining film.

Ajay (Akshay Kumar) leads a group of three other robbers — Sharma (Anupam Kher), Joginder (Rajesh Sharma), and Iqbal (Kishor Kadam) — who pose as government officials to raid the homes of corrupt politicians and businessmen. Their victims are more worried about bad publicity should news of their corruption be made public, so they never report the theft of their ill-gotten gains to the police.

Early in the film, a raid on a minister’s house is inadvertently aided by the local police, fooled into thinking that Ajay and his crew are CBI investigators. Two of the police officers — Ranveer (Jimmy Shergill) and Shanti (Divya Dutta) — are fired for their part in the debacle. In order to clear his name, Ranveer gathers evidence on Ajay’s crew and turns it into the real CBI, where he works with CBI officer Waseem (Manoj Bajpai) to foil Ajay’s “one last job.”

The story, set in 1987, is based on a real-life heist. The film has cool period flavor in everything from the costumes to the musical score. Even the movie’s lone chase scene eschews modern CGI in favor of a low-tech footrace, which is plenty exciting without special effects. The film’s runtime could’ve been shortened a bit, but it’s never boring.

What really makes the movie is uniformly great acting by the whole cast. It’s nice to see Kumar drop the wacky comedy-action routine in favor of a more muted performance. Ajay doesn’t have the depth of some of the other characters, but Kumar plays him as a confident leader.

While one just expects greatness from Anupam Kher, it is still fun to watch him work. He’s terrific as Sharma, the nervous Nellie of the bunch. He projects confidence while posing as an investigator, but shrinks with worry when he’s alone with Ajay. Even the hair at his temples gets in on the act: slick and orderly while on the job, messy and pointing in all directions when he’s at home.

Rajesh Sharma and Kishor Kadam are solid as the other members of the crew, but I wish their characters would’ve been fleshed out. Same for the two female characters in the film, Shanti, and Ajay’s love interest, Priya (Kajal Agarwal). Jimmy Shergill has the most substantial supporting role as Ranveer, and he’s tremendous.

The best performance of the lot is by Manoj Bajpai. As with Kher, this isn’t a surprise, but Bajpai is more interesting to watch than just about any other actor. I would happily watch a film that was nothing but three hours of Manoj Bajpai walking toward the camera with an intense look on his face. There’s a lot of that in Special 26, so I was in heaven.

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Opening February 8: Special 26 and ABCD

Two new Hindi movies make their way into Chicago area theaters on February 8, 2013. Special 26 (aka Special Chabbis) has the greater star power of the two, starring Akshay Kumar alongside notable character actors Anupam Kher and Manoj Bajpai.

Special 26 opens on Friday at the Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington, and Regal Cantera Stadium 17 in Warrenville. It has a listed runtime of 2 hrs. 40 min.

I’m more excited for this weekend’s other new opening: ABCD (Any Body Can Dance), India’s first 3D dance film. For anyone who’s fond of Bollywood movies for their dance numbers, this should be a gold mine. The movie stars choreographer Prabhu Deva in the lead role and features So You Think You Can Dance Season 3 competitor Lauren Gottlieb.

Starting Friday, ABCD will be showing in 3D at the South Barrington 30 and AMC River East 21 in Chicago and in 2D at the Golf Glen 5. It has a listed runtime of 2 hrs. 25 min.

Race 2, which has earned $1,371,815 in the U.S. so far, gets a third week at the South Barrington 30, Cantera 17, and Regal Gardens Stadium 1-6 in Skokie.

Other Indian movies showing in the area this weekend include the Tamil version of Vishwaroopam at the Cinemark at Seven Bridges in Woodridge and Golf Glen 5, which is also carrying Vishwaroopam in Telugu, as well as Ayalum Njanum Thammil (Malayalam) and Mirchi (Telugu).

In Theaters November 21, 2012

Most Chicago area theaters have rearranged their schedules to accommodate new releases debuting on Wednesday, November 21, to take advantage of Thursday’s Thanksgiving holiday crowds. That’s bad news for one of last week’s new Hindi releases.

Son of Sardaar is dropping out of some area theaters and seeing its daily showings cut back at others. Come Wednesday, Son of Sardaar will only be playing at the Big Cinemas Golf Glen 5 in Niles, AMC South Barrington 30 in South Barrington, and Regal Cantera Stadium 17 in Warrenville.

Last week’s other big Diwali release, Jab Tak Hai Jaan, is unaffected by the mid-week schedule update. Having earned a total of $1,941,805 in the U.S. so far, JTHJ carries over at the Golf Glen 5, South Barrington 30, Cantera 17, AMC River East 21 in Chicago, and Regal Gardens Stadium 1-6 in Skokie.

Two of Wednesday’s new releases — though not Hindi movies themselves — feature popular Bollywood actors in prominent roles. Anupam Kher stars in The Silver Linings Playbook, while Life of Pi stars Bollywood veterans like Irrfan Khan, Tabu, and Adil Hussain. Both of these English-language films open on November 21 at all five of the theaters mentioned above, as well as many other theaters in the Chicago area.

Movie Review: Desi Boyz (2011)

2 Stars (out of 4)

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Desi Boyz borrows liberally from the plots of movies like The Full Monty and Loverboy while failing to really understand either. Both of the Hollywood comedies are about ordinary men pressured into selling their bodies (in one way or another). In the process, they learn that romance is about more than looks, and that men and women both have insecurities about sex.

Debutant writer-director Rohit Dhawan misses the point of the movies he’s aping, and instead casts two of the hunkiest actors in India — John Abraham and Akshay Kumar — to play a pair of down-on-their-luck Londoners forced to dance at bachelorette parties for dozens of sexy, scantily clad women.

Abraham plays Nick, a financier, and Kumar plays Jerry, a mall security guard and (gasp!) college dropout. Jerry is  responsible for his young nephew, Veer, following the deaths of the boy’s parents. Nick is planning a dream wedding for his girlfriend, Radhika (Deepika Padukone).

Their plans fall apart when they are both laid off. In order to keep child services at bay, Jerry signs on with an escort service called Desi Boyz. Nick reluctantly agrees to help Jerry for Veer’s sake. While their new careers forestall financial ruin, child services take Veer when they learn the source of Jerry’s income. Radhika spots the guys performing at a bachelorette party and dumps Nick.

While film’s promos focus on Abraham and Kumar as strippers, that plotline is dropped after the first half of the movie, never to be resurrected. The second half falls into the doldrums as Jerry goes back to college and Nick tries to win Radhika back by living in a trailer on her front lawn and smoking pot with her dad, played by the always delightful Anupam Kher.

All of this is supposed to enforce the tidy moral messages that dignity shouldn’t be sacrificed for short-term gains and that one can only succeed with a college degree. So why does Jerry, immediately upon getting his degree, blackmail someone into giving him a job with false accusations of sexual assault? What kind of moral message does that send?

There’s similarly inconsistent character growth in the Nick and Radhika storyline. Nick, the supposed champion of hard work, ultimately wins Radhika back by being a slacker. Radhika is no peach herself, leading on a nerdy suitor played by Omi Vaidya solely to make Nick jealous.

Desi Boyz would’ve been more interesting had Vaidya and Kher played the guys forced to become strippers. Or Nick’s character could’ve been marginalized, shifting the focus onto Jerry as he supports Veer and pays his way through college working as a male escort. (How did broke, jobless Jerry find the money for college anyway? The movie doesn’t explain).

Rohit Dhawan has some potential as a filmmaker if he can keep his stories focused and his characters consistent. I like his debut better than most of the movies I’ve seen by his father, filmmaker David Dhawan.

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Movie Review: Game (2011)

2 Stars (out of 4)

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The murder mystery genre is a well-established one — so much so that audiences have internalized the genre’s rules, whether consciously or not. Game breaks a number of rules that the genre demands must be followed, ruining what is otherwise a great-looking and well-acted movie.

Game starts with a promising contrivance. Billionaire Kabir Malhotra (Anupam Kher) summons four people to his private Greek island right at the moment they are most in need of rescue. Tisha (Shahana Goswami) is caught driving drunk, O.P. (Boman Irani) is about to lose his political career, Neil (Abhishek Bachchan) is on the run from Colombian drug dealers, and Vikram (Jimmy Shergill) has a suitcase with a dead body stuffed inside.

Malhotra’s generous offer isn’t quite what it seems. He holds the three men responsible for the untimely death of a daughter he never knew he had. And Tisha is his dead daughter Maya’s fraternal twin sister. Malhotra has enough dirt on the men to ruin their lives, dirt which he plans to turn over to international authorities in the morning.

The circumstances of Maya’s death are divulged within the first 30 minutes of a 135 minute movie, so that’s clearly not the movie’s real mystery. Instead of moving the story forward from that point, the plot is interrupted by Neil flashing back to Maya (Sarah-Jane Dias) performing a burlesque dance number, ruining the flow of the film.

At the fifty minute mark, the true mystery is finally revealed. Malhotra dies alone in his office — presumably by his own hand — and all of his evidence on the men is destroyed. The international authorities arrive, but lead inspector Sia (Kangana Ranaut) is forced to let the four invitees go home. Her primary suspect, for no apparent reason, is Neil, and she begins trailing him to uncover his guilt.

There’s a lot to like about Game. Bachchan and Ranaut are compelling leads, and veterans Kher and Irani deliver as always. Goswami and Shergill make the most of their supporting roles. The movie is beautifully shot in gorgeous locations in India, Turkey, Thailand, England and Greece. There are a few great action sequences and one painful jogging chase scene that ends when the pursuers succumb to sprained ankles and side cramps.

But the film’s plot has some issues that are too large to be glossed over. To paraphrase a familiar axiom about mysteries, the outcome must, in retrospect, feel unpredictable but inevitable. There’s nothing about the ultimate outcome of Game that is any way inevitable, despite a few half-hearted attempts at retroactive continuity.

The introduction of new major characters, illogical plot twists, and ludicrous revelations dominate the last 30 minutes of the movie. Plot twists can’t exist independently for the sake of shock value alone; they must exist in service of the larger story (or else they’d just be called “twists”).

The filmmakers didn’t understand that, after a good mystery, the audience should leave saying,  “I can’t believe I didn’t see that coming.” Instead, Game‘s audiences will exit theaters wondering, “Where the hell did that come from?”

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