Friday, 22nd July 11:05 AM IST
Irfan is brilliant, Jimmy Shergill is decent, Vishesh Bansal is natural, engaging background score, well written
Inconsistent direction, boring songs
Watch it for relevant tale of our times
Nishikant Kamat directed some good films i.e. 'Drishyam', 'Mumbai Meri Jaan' followed by poor remake 'Rocky Handsome'. Now he is back with another interesting looking film.
Saru, full name Saraswati, is an obedient daddy’s girl. Inder is a broody, massively-tattooed loner. And ‘Sanam Teri Kasam’ , not to be confused with the ’82 film of the same name, is a manual of how Not to make a contemporary romantic film.
Picture this: a heavy-handed father who thunders, flinging out instructions on how wife and daughters ought to behave. Falling in love with an unsuitable boy, ‘aiyyo rama’. Acting on your own will, ‘parmeshwara’. Doing what your heart tells you to, ‘aaj se thum mere liye marr gayi’.
Which leaves Saru (Mawra Hocane) to smile, simper, weep. Hesitate. Propitiate. And to look at her stony-faced father (Chowdhary, trying very hard to be a credible South Indian patriarch and failing) who’d rather conduct a wake than understand his daughter’s desires, and wait for his ‘permission’ before she can take a step forward. (Read: Ghayal Once Again, Sanam Teri Kasam to clash at box-office today)
Inder (Harshwardhan Rane, armed with impressive bod, limited expression), who has daddy issues of his own, scowls and growls. The deep hurt caused by his dad is revealed much too late, and much too cursorily. The rest is filled by these two unlikely characters—Inder and Saru—developing feelings, over a brain tumour, impending tragedy, and more tears.
Nirmal (Irrfan) had lost his seven-year-old son in a bridge collapse in Mumbai, and he tells the grieving father of another victim of the accident about what he will do with the compensation money: he will convert the cheque into a weapon to fix the people responsible for the death of his only child. Nirmal goes about his revenge in a manner that will be familiar to Neeraj Pandey’s A Wednesday (2008). He engineers a crisis and waits for the system to react. Nirmal kidnaps Rohan (Vishesh Bansal), the son of the country’s home minister (Tushar Dalvi). Jimmy Shergill’s Nachiket heads the crack unit that moves heaven and earth to track down Nirmal, who is always two steps ahead. (Madaari means ringmaster.) As he taunts the minister in one of his several phone calls, I am so ordinary that you will never be able to identify me. How he questions system and takes his revenge form the rest of the plot.
Film has very interesting plot but it has clear inspiration from 'A Wednesday'. Film remains in thriller mode with Emotional dramatic moments in between. Film holds interest and good performances coupled with interesting plot makes for satisfying experience.
Performance wise, Irrfan is extraordinary as representative of common man and his impact in silent scenes are heart wrenching. Jimmy Shergill is good as always. Tushar Dalvi is good and Vishesh Bansal is naturally sweet.
Film has decent editing. Background music is effective. Cinematography is perfect, production design is apt and costumes are good. Music is below par and boring.
Director Nishikant Kamat delivers an interesting and socially relevant film which suits sensibilities of modern audience. It has heart at the right place despite some inconsistent over dramatic moments.
Film will release today and it will get good reviews so it will get better after below par opening as it has some buzz but it has some good films at box office to compete with. Film needs exceptional word of mouth to make any kind of impact.
Go for this one if you like interesting piece of cinema!