Friday, 10th June 12:05 PM IST
Amitabh Bachchan is outstanding, Nawazuddin is decent, Vidya Balan is natural, engaging background score, tight screenplay
art school slow direction, climax is not that good
Watch it for old school taut thriller moments
Amitabh Bachchan has some impressive performances in last few years i.e. 'Piku'. Now he is back with another fantastic and interesting role in a thriller where Vidya Balan and Nawazuddin give him worthy company.
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.
John Biswas (Amitabh Bachchan) is suffering due to loss of his granddaughter. He had one dreadful night when his granddaughter was kidnapped and murdered. Its been eight years but he is still looking for answers and criminal responsible for the heinous crime. Father Martin Das (Nawazuddin Siddiquie) hates seeing John as he reminds him of his last case when he was a cop. Due to that case he did quit his job and turned Father but still he is haunted by that past. Sarita Sarkar (Vidya Balan) is new investigating officer in a case of kidnapping of a child which bears resemblance to that eight year old case. What lies beneath these cases, who is a criminal and what is the truth which can not be seen - these all questions will keep you glued to the seat.
Film has very interesting plot. But at times film went in over slow mode with very art house treatment. Film does pick up after interval point till the end.
Performance wise, Amitabh Bachchan solely lifts the film. He walks like one tortured soul, has right intensity and his physical attributes are perfect, his mature expressions and performance are awesome. Nawazuddin is also very good but his speech and dialect look awkward at places. Vidya Balan is decent and so is Sabyasachi.
Film has uneven editing and back and forth starts irritating at places. Background music is average. Cinematography is good, production design is apt and costumes fit the bill. Songs are decent and classy.
Director Ribhu Dasgupta delivers a super film but it has too much imprints of Sujoy Ghosh's 'Kahaani' who is creative head of this film. Film is remake of Korean film 'Montage' but has its won charisma and that is the victory of director. But a bit more zing, a bit more meat towards the end would had made it into a perfect film. And yes, climax might leave some sections of audience cheated.
Film will release today and it will get good reviews and it should get decent opening at best as it has competition from much awaited Hollywood franchise 'The Conjuring 2' and 'Housefull 3' in its 2nd week. Film has to score 35-40 cr at box office in order to break even and that seems touch and go at the moment.
Go for this one for rare breed of good thriller in Bollywood!