Dushman

Directed by: Tanuja Chandra

Starring: Kajol, Ashutosh Rana, Sanjay Dutt

Released: 1998

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Few crimes are as awful as a rape. Not only it causes physical harm, it strips the victim of their dignity, violates their privacy, often it crushes their spirit. And when a rape ends with just as violent murder, hardly anything the darkest nightmare could conjure up even compares. And yet that is exactly how this film starts and what it deals with. 

The lives of two twin sisters Naina and Sonia seem happy enough, with both going to the college and one of them accepting a marriage proposal from her boyfriend. In the good Bollywood tradition of twin behaviour, Naina (Kajol with long hair) is a calm, angelic and gentle being, whilst Sonia (Kajol in the most awful wig since the beginning of Bollywood until Anushka Sharma in P.K.) is loud, intimidating, roughened up kid. But then they capture attention of a rapist and Sonia pays the price. The angelic Naina sets on a quest of finding her sister´s killer, and hopes to prevent his perverted actions in the future. Her journey involves overcoming her own demons and fears, as well as some jogging and weight-lifting under the careful guidance of blind Sanjay Dutt.

Horrifying as it is, Dushman is a great film. I have not seen the Hollywood original, but I dare say Dushman definitely is a more than worthy remake. Perhaps the best scene are the moments before Sonia´s death, as Naina helplessly, verging on hysteria, runs among the cars in traffic jam, all the time listening to Sonia´s screams over the cell-phone. The portrayal of the rapist and murdered is excellent, showing him not only as a disgusting deviant, but also a cunning liar and sly operator, who manipulates the only woman who (for whatever reason) actually cares for him.

The star of the whole thing is of course Kajol, who is only challenged in her performance by truly terrifying Ashutosh Rana. It is by far the best work I´ve seen Kajol doing and I would be much happier if people would talk about her talent with references to films like this rather than to mediocre stuff like Kuch Kuch Hota Hai or even worse to K3G. Dushman gives her a great scope and great material to work with and she seizes the opportunity. However I would have been much happier had there be no love subplot, which I found completely unnecessary, not to mention Sanjay and Kajol do not work as a jodi to me, not at all. Sanjay overal did well, but his character, just as the whole subplot, was given more importance than I would like, as I was hyped about all the thrilling stuff and confrontations between Kajol and Ashutosh, and Sanjay bits were only slowing everything down and distracted one´s interest. For the sake of everything it would have been better if we saw more of the training than romance.

The climax was way too violent, way too long and the music behind it way too awful. And the very ending took away from the feeling of satisfaction brought in by the climax. The romance nobody cared about should not have diluted the sense of relief and justice previously brought on by the bloody death of the rapist at the hands of his upcoming victim.

Excellent thriller I cannot recommend to ladies as a late night movie unless you have a box of chocolate, strong boyfriend and fully loaded Beretta by your side.

PK

Directed by: Rajkumar Hirani

Starring: Aamir Khan, Anushka Sharma, Saurabh Shukla, Boman Irani, Sanjay Dutt

Released: 2014

My rating: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

I love Raju Hirani and his films. They are cheeky, provokative, yet essentially „good at heart“, working with characters that go easily over the top, but still remain believable. Even if they are an alien, and even if the same faces have been used by the same director in his previous ventures, as figures very much unforgettable.

PK share much of its features with both E.T. and OMG Oh My God (starring Paresh Rawal and Akshay Kumar, and which I hear was also a take on some English film), so while this time it is not about being innovative and original, it is still about skillful filmmaking and cinema which can both entertain and educate. Certainly we should be grateful when a film like PK becomes a massive hit, instead of the mindless masala, at least once upon a time. Also thank God (the asli wala) that the film stayed away from much of romantic moping or emotional revelations, which would inevitably slowed the narrative down (It was not about romantic love anyway, so why dilute it.)

Aamir Khan gives a commendable performance, and while the biggest strength of PK is in the way his dialogues have been written more than anything, when his extravagant weirdness stops bothering you after a while, he slips into the role effortlessly. Anushka Sharma is a natural performer and one gets happy just seeing her twinkling eyes. Whatever she has been doing with the lower part of her face is completely her business and I do not judge her for it, but yes, I must admit in some scenes her mouth area was as distracting as Katrina´s lips in Jab Tak Hai Jaan. Saurabh Shukla appears and makes quite an impression as a mean religious leader, while the erst of the cast divide some special appearances. Boman Irani, I felt, got the mean deal. Given he has been such a power in Hirani´s previous movies, here he has nothing to work with at all. Sanjay Dutt is funny, and his shocking demise.... well.... shocking to say the least. The special appearance by Ranbir Kapoor at the end would have been an extremely pleasant surprise, had it not good friend tumblr ruined it for me just days after the film release.

PK, unfortunately, does not reach the higher than high standards set by Hirani himself with his previous films (namely 3 Idiots and above all Munnabhai MBBS). Half-an-hour-too-long, while it carries a fantastic message, it lacks any true drama to drive the plot. One feels for PK, but there is not a single moment when one would not expect him to return home eventually. Finally, the last twenty minutes seem sloppy. The whole explanation of „how maybe Sarfaraaz probably did not ditch you ever thought of that“ felt forced and over-constructed (does this word even exist?). Also, if you have a huge lasting fight over religion on national TV, there should be a grand conclusion, but the viewer is robbed of the experience, as the climax remains underplayed and underwhelming. Few times I also had to remind myself to be tolerant when it came to a fine line between humour and crude humour, without which Hirani seemingly cannot do (though I admit the dancing car was funny). The movie lacks memorable soundtrack.

When it comes of the specific theme of religion and how it became a big money spinning business, Rawal´s OMG remains superior. PK is more cute, with a hero and heroine more to the mainstream tastes, and on a grander scale. It carries the Raju Hirani signature: it is light-hearted, funny yet touching, all that just somehow little less than usual.

Policegiri

Directed by: K. S. Ravikumar

Starring: Sanjay Dutt, Prachi Desai, Prakash Raj

Released: 2013

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

This film is just absurd.

I am not even going to try to describe the story, because Vigil Idiot has done that in his absolutely hilarious and painfully honest way HERE.

Yes, Sanjay Dutt is a kind of a man who looks convincing as a macho policeman with ability to beat the goondas on his own and not even break into a sweat while doing it. However I´ve had enough of films with Dabangg hang-over and the presentation of the main character in this is completely boring, in spite of unending explosions and dramatic shots to show us that SANJU IZ DA SUPAHMAAAAN. Like geez! Move on, we get it!!! Not only he is unstoppable and un-destroyable, but even his bloody CAR doesn´t get a scratch when it crashes down an iron gate.... Hell yeah! Watta ride!!!! Except The whole character of DCP Rudra made no sense. A policeman who lets the criminals do whatever they want "as long as they don´t harass or harm public"? WTF? Does not every crime harass or harm someone?

At the same time we are given a Sanjay Dutt breaking into a dream-sequence song while trying to pull off some Shahrukh-ness with some unconvincing CGI projection of mountains and waterfalls in the background and with voice that is painfully apparently not his. And lovely to watch, but annoying to listen to Prachi Desai (I would say "who deserves better", but every actress would deserve better than this) being head over heels with him. A word has not yet been invented to describe how incredibly they look together. At times it feels pedophilic. Either they should have abandoned the "romantic" part altogether and make Prachi his sister (if making her his daughter would make him look "old") or they should have searched for some actress closer to his age and desperate enough to be a part of this rubbish.

Excuse me while I go and throw up.

Prakash Raj has lost his touch it would seem. He has become a caricature of himself on the screen. That his villain is at the same time trying for some comic relief makes it all the more confusing and difficult to imagine he might actually be dangerous. The whole comic side-track thing (with Prachi´s potential beau) is really something that cinema has moved on from and while it belongs to the films of the past, it feels extremely regressive today. Not to mention - it is not funny.

All there is to dialogues are several un-endingly repeated punch lines that are not punchy, rest of the time the characters are threatening each other. Blah blah blah blah..... it´s like listening to a broken record. Villain to hero, hero to villain, they just repeat the same things to one another. I really hope that script writer asked for just half the cash, because he obviously did just half the work. And frankly for a pearl like „You have the voice like Osama, I have the power like Obama“ they didn´t deserve two rotis even..... The only good line from the whole film, one that actually had me laughing, was uttered at the beginning. "Beauty is in the eye of a beer holder!" Goes down to my book of favourite quotes. Question is: is it original?

I just hope that while in jail Sanjay Dutt will have enough time to think of his terrible film choices and when he comes out he will be back to making classics like Munnabhai or at least films that would be bearable.

Sequels and more sequels

Since it is latest fashion in Bollywood to turn films into a franchise or at least make a sequel or two, here come my thoughts on three of them....

Dhoom

Directed by: Sanjay Gandhvi

Starring: Abhishek Bachchan, John Abraham, Uday Chopra, Esha Deol, Rimi Sen

Released: 2004

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

At first I thought it was a film made for less talented star relatives, but thankfully it turned out quite well. Abhishek was really good, which in his case is rather rare, but I just did not believe John to be the bad guy. He is a chocolate boy who looks like a lollipop macho, but he is as evil as a tomato soup. This was my first encounter with Uday Chopra, and he suited the role perfectly, and it was also my first encounter with Esha Deol. In her case all Hema Malini´s genes concentrated on making the daughter looks like an exact copy of her mother, but failed in transferring charm and screen presence (forget talent). What I liked the most was probably the editing (except for the scene near the end when Abhishek and John are coming out of the casino when the constant "BOOM and close up on them looking at each other" was used annoyingly often). The story lacked both the investigation process and the planning of the cons, which quite frankly bothered me a bit. I was always just presented the final result without seeing any development - which in cop films like this one are just necessary. Dhoom is primarily a guy´s film - by guys for guys. Full of motorbikes and skinshow

Dhoom 2

Directed by: Sanjay Gandhvi

Starring: Hrithik Roshan, Aishwarya Rai, Abhishek Bachchan, Uday Chopra, Bipasha Basu

Released: 2006

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

From the first second it was clear that this Dhoom is more polished. More fancy. And much, oh so much more stupid. I have a great tolerance to the physically impossible displays of awesomeness, but what is much is too much as we say in Czech. Abhishek and Uday are still both very much stuck in the first Dhoom and have not made any progress altogether on any level at all. Hrithik didn´t have any impact on me – his Filmfare for this reamins the biggest Filmfare joke ever. Bipasha - why was she in this film? She has TWO roles and both are absolutely needless. I was sorry for Aishwarya, because she was just bad, and I know she can do so much better. Her beauty was burried under a THICK layer of very unflattering make-up and Crazy Kiya Re has to be the most overrated song in history of Bollywood. "Why are you wasting your incredible dancing skills?!" line was swirling in my head all the time watching it. The music overally is pretty weak (excep tfor the Dhoom theme which has already appeared in the first film) and the final nail into its coffin hammer the English lyrics, that in this case just do not work. Whatever the suspence in the first Dhoom, there is absolutely none in this. And I cannot help but wonder WHY in the world is this going to have another sequel.

Housefull

Directed by: Sajid Khan

Starring: Akshay Kumar, Deepika Padukone, Riteish Deshmukh, Lara Dutta, Arjun Rampal, Boman Irani, Chunky Pandey

Released: 2010

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

I can´t believe I´m saying this but most of it I actually enjoyed. Not liked. Enjoyed. Anyway it is definitely a bad film, and though the skin show is not ever present it has a somehow sleazy feel throughout. The showstealers were Boman Irani and Chunky Pandey, and I one of the reasons I enjoyed the movie was Lara Dutta (the woman is just not in enough films!). The story is next to none, there is just one big mess of a confusion given by switching multiple partners according to situation.

Housefull 2

Directed by: Sajid Khan

Starring: Akshay Kumar, John Abraham, Rishi Kapoor, Randhir Kapoor, Mithun Chakraborthy, Riteish Deshmukh, Asin, Jacqueline Fernandez, Shreyas Talpade, Zarine Khan

Released: 2012

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Indeed the house was full from basement to the roof. Sequels are rarely met with such a good response, but Housefull 2 did more than well and after a series of flops Akshay Kumar returned from the oblivion. There is not much different from the first film. The plot and the jokes are yet again based on loads of lies and partner changes, just unlike last time Akshay is not an innocent fool but a cunning kamina. Truly, housefull 2 brings nothing new to town, except a really delightful on screen meeting of Rishi and Randhir Kapoor as two brothers who hate each other, but have many things in common. There are way too many damn characters to remember and way too many damn deceptions to really keep a track, but to be honest I found the over the top unlikely situations absolutely hilarious – and credit goes more to the art of the actors than anything else. Seven women in the story (two mothers, four girlfriends and a dancer) have absolutely nothing to do, and womenfolk is pretty much presented as kind of dumb, but all the men are just splendid in their comedy (I especially need to mention to I-am-a-joking Chunky Pandey as Aakhri Pasta). More than a sequel it is a upgraded version of the previous movie and definitely the funniest film of the whole first half of 2012.

Dhamaal

Directed by: Indra Kumar

Starring: Sanjay Dutt, Arshad Warsi, Riteish Deshmukh, Javed Jaffrey

Released: 2007

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

The OTT is so Indra Kumar... However in all that OTT there is heart somewhere. True enough, I was not able to finish this at one go, because it would give me headache after a while, but I kept returning to it till without regrets. It was amusing, though not exactly hilarious. I could have done without the stupid souds indicating that "this was funny", seriously in a film like this (meaning FULL of silly jokes) we wouldn´t have missed that the joke already happened. I must admit I was genuinly teary-eyed in the end.... Sanjay Dutt was made for such roles. He was awesome and by far the most funny of them all, without making faces and talking rubbish. My love for Riteish was justified yet again, loved him as well. Fine timepass.

Double Dhamaal

Directed by: Indra Kumar

Starring: Sanjay Dutt, Arshad Warsi, Riteish Deshmukh, Javed Jaffrey, Mallika Sherawat, Kangana Ranaut

Released: 2011

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Yet another story of four not that brilliant guys trying to get rich quickly and without work. As much as I enjoyed the first one, this one is not as half as funny and also lacks all the heartwarming moments. In fact the only fun and simles I had came in the last hour. This time it´s not Sanjay Dutt, but Ritesh Deshmunk who takes the cake for the best performance, his "Tukya" was purely hilarious! I´m almost ashamed to say I found Mallika Sherawat much more natural and bearable then Kangana, who, to be honest, is starting to annoy me really bad. All in all there is LOTS of OTT Indra Kumar style (as usual and expected), and way too many references to other films actually take away from the wit.  

Mahaanta

Directed by: Afzal Khan

Starring: Sanjay Dutt, Madhuri Dixit, Jeetendra, Amrish Puri

Released: 1997

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Mahaanta is one of those films I tend to pretend do not exist, because it is one of those films that cause me an acute pain as a Madhuri Dixit fan. In making for almost 9 years, by the time Mahaanta came out it was badly outdated in all aspects. The star-cast, that must have been extremely impressive in the late 80s, when the film shooting actually started, was, by the time it released, almost exclusively considered veteran and non-happening (apart from Sanjay and Madhuri). The story too was one of those bloody thrillers about revenge so popular at the time, but no longer relevant in the post Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge era. It wasn´t handled well either.

"Why were all my scenes cut out and my presence in the film reduced so much?"

"You are too old to be a heroine. Better you face it soon."

Honestly, I don´t know where to begin. The film is extremely boring from the start, and to be honest I couldn´t really follow what was happening. There was Jeetendra, already looking 60, but playing a young man, I caught a glimpse of the beautiful Poonam Dhillon (and my, does she disappear like a rock in the ocean not to be heard of again in this film!), but mostly the story seemed to focus on devilish Amrish Puri, who runs illegal business and has brave, but stupid police officers murdered. And then, out of nowhere, Sanjay Dutt appear to save the day and Jeetu´s ass (just like that, no explanation given). And in the next moment he´s wearing a tight yellow Speedo T-shirt, buying sarees for his bhabhi in a supermarket, and falling in love with the gorgeous, though horribly dressed Madhuri, as she´s passing around. However, Amrish Puri´s „son“ falls in lust with her (no, that isn´t a typo) and to get her he tries to rape her, and when he gets a beating, asks daddy to get him the gal.

DAT SPEEDO!

By threats to her and Sanju Amrish forces Madhuri to a wedding, but Sanjay having none of that manages to steal the bride for himself and marry her. And from this point on, the story gets even more boring and confusing, with more kills and more raping, and Jeetendra circling around as a righteous protector of the law while Sanjay turns into an avenging killing machine and having a song after he murders every single one of his enemies (sorts of „Ninety-nine bottles of beer on the wall, Ninety-nine bottles of beer. Take one down, pass it around, Ninety-eight bottles of beer on the wall“ gaana). Until in the end Sanjay and Jeetendra have a Dostana moment of mutual forgiveness and renewed love for each other. Doesn´t you head hurt just reading? Now imagine actually watching all this in span of approximately three hours.

"I brutally murdered a guy just now. Sha-la-la-la-la!"

None of the actors gives a really bad performance, but none excels either. Jeetendra is boring, Sanjay´s character actually rather unlikeable, Amrish Puri gives us his standart staring villain and Madhuri doesn´t have a big role, especially in the second half she only appears for the songs - a reminder that she signed the film in the late 80s. Heck, Shakti Kapoor is on the screen more. Music is fine and catchy enough, although picturization of Chule Chule makes Sanjay Dutt look like a blind, deaf and unfeeling wooden log, because to sleep with your own wife would probably take away your super powers or what. Let´s just smack her across the face, that´s right. Just like when she said she loved you. Indeed, Sanju may love Madhuri in the film, but I have no idea why would she love him so dearly, cause treats her like dirt most of the time.

Saajan-wali Madhuri.

DTPH-wali Madhuri.

All those years it was in making ruined the film completely. I´m completely sure Sanjay and Madhuri´s story was just a supporting one to the main of Jeetendra and Poonam Dhillon, or at least there was loads more of Jeetendra and Poonam than what we´ve got to see eventually. Scenes were being rewritten and reshot, which we can perfectly document by seeing fresh and happy Sanjay vs. tired and weary Sanjay who just got out of jail, Madhuri with skin problems and black curly hair from the times of Saajan and Madhuri with flawless skin and brown messy hair she sported post 1996, and of course Sanjay´s mullet is ever-changing, not staying the same in two scenes.

Mahaanta is a pain. In the hearts of Madhuri fans like me, in the brains of all the sane movie-watchers, and if you manage to sit through it all at once, it can easily give you a pain in the...

"Baby, let´s make a baby!"

"No. I haven´t kill everybody in this film yet."

"WTF dude?"

Son of Sardaar

Directed by: Ahswni Dhir

Starring: Ajay Devgn, Sanjay Dutt, Sonakshi Sinha, Juhi Chawla

Released: 2012

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

Son of Sardaar is fun. Light-hearted, uncomplicated, straight-forward and most importantly family friendly. It is possibly the only big masala film of 2012 that has no sexual innuendos, no double meaning hints, no gay jokes or raunchy dance numbers. It is silly, oh yes, the amount of silly is quite considerable, and it definitely makes clear yet again that Bollywood action is more and more going South (where gravity means nothing and physics wanders around unemployed) and hence not believable in any way – which in this case ads to the „family friendly“ I have already mentioned, because the „violence“ shown is so over the top you just cannot take it seriously. The major weakness is the very beginning, that may turn many people off, as it is rather cringe worthy. Taking a jump of Big Ben and dancing among a horde of white women in desi clothing (my ears would hurt at how much voices would raise on social websites against such cultural appropriation – and they would be right) and fighting off white goons a minute later made even me considering if I should even bother. But once Salman Khan´s useless cameo is over, things do get better. A lot.

The story has roots in an age old enmity between two rich Punjabi families, who for generations have been slaughtering one another and taking revenges and so started an unending cycle of bloodshed. Until a wife of a recently murdered one decided she has had enough, took her children and fled from India. She saved herself and children, but complicated lives of the other family, of which various members took various oaths: to never eat ice-cream, to never have a cold drink, and to never marry – until the last offspring of the hated family was not killed by their hands. But how to fulfill such promises if the person in question is nowhere to be found? And so there are is no ice-cream or cold drinks for some, and no shaadi for others. For over twenty years.

Then one day out hero Jassi is distracted from his pathetic dancing with white girls in London by a letter summoning him to Punjab because of some inherited land, and Jassi flies down to India with an intention to sell it and then peacefully return. While on his way he meets feisty no-nonsense girl Sukhmit and falls for her immediately. What luck she travels to the same place as he does. And even greater luck awaits it seems: after he looses her on the train station, he runs into Billu, who invites him home, and it turns out Sukhmit is his cousin. But don´t be fooled. The luck is not about finding Sukhmit. It lies in Jassi being within the walls of Billu´s house. For he is the one they want to kill, and they soon find that out. But to harm a guest in any way is just not done. They have to wait for him to step out. And Jassi, completely shocked upon learning the truth by chance, does everything that might delay his leaving.

What surprised me was a simplicity of the plot and settings. Apart from the train traveling at the beginning and some wild chasing near the end everything happens in one place. The plot is also very straightforward, and the filmmakers managed to keep it interesting for most of the film. True enough, some of the scenes could have been shorter, because you do get the idea of what is going on, and after some point you grow a bit impatient and want things to move forward – had film lasted 2 hours only, it would have helped. The songs are put into the film well, but sadly none really captured my interest – and the Po Po song is definitely a product of some really ill mind.

All the involved actors prove they have a great comic timing and talent. Ajay pleasantly surprised me, because I expected him to be an unbeatable machine without a trace of fear, and while he definitely shows that when necessary he will give everyone a lesson, his Jassi was more of an average guy wanting nothing but everyone to get along. Sanjay Dutt too is very good, my only complaint is: why did he have to look so bad? The styling was just horrible – and made me question who would wait for over 20 years to marry him? Especially if the bride herself is the beauteous Juhi Chawla? 

Now, Juhi in this film you either like or hate. And it is really up to how you decide. Indeed, I felt like I was put before a choice. Because I could say she was a delight to watch, a sweetheart and a cutie, who deserved more screenspace and I would mean it. And at the same time I could say she was over the top and took it to the annoying level, and it would still be kinda true. But I was happy to see her in a mainstream film after so long, so I largely go with the first. Sonakshi is the weakest of the four leads, which is no insult to her, since all are seasoned actors who have proved themselves numerous times in the past, at the same time Sonakshi definitely sells you Sukhmit as a real character, and that goes to her credit. Although yeah, she looks like Ajay´s daughter throughout.

And so I ended up nearly loving Son of Sardaar and cannot understand all the hate it got.

Sadak

Directed by: Mahesh Bhatt

Starring: Sanjay Dutt, Pooja Bhatt, Deepak Tijori, Sadashiv Amrapurkar

Released: 1991

Verdict: destroy every copy – horrible – bad – whatever – flawed but enjoyable - good – great – amazing

I think I am not wrong to say that Bollywood does not make too many thrillers. Romance and masalla have always had a strong grip on the Hindi film industry, and thriller has always seemed more rooted in the West. No wonder then that to find a really good Hindi thriller is not an everyday matter. If you are looking for one though, Sadak should be next on your wish-list.

Mullet-walla Sanjay Dutt play Ravi (for whatever reason I just hate that name), a poor but honest taxi driver, burdened by a terrible tragedy that had occurred earlier in his life. His beloved sister went missing, and when she reappeared, it turned out she was forced to become a prostitute. Ravi refuses to follow his family´s example of turning their back upon her, but to his utter horror Rupa is murdered right in front of his arms – she falls to her death from a window, pushed by an unknown killer. This experience causes Ravi to nearly loose his mind, and whenever he closes his eyes the whole drama is happening in front of him again. Because of that he avoids sleep, because of that he often thinks of committing suicide.

Naturally his friends are worried, and one of them (Deepak Tijori, the ultimate 90s sidekick) at least makes him visit a brothel for some distraction. They happen to witness a girl trying to escape from there, and Ravi recognizes in her a girl whom he had met before. From that moment on his focus turns from the dead sister to the living girl, and he sets out with decision to set her free no matter what. But his intentions are difficult to materialize, as his opponent is none other than a brothel owner Maharani. Do not let yourself to be fooled. Maharani is not merely a greedy woman, but an extremely intelligent and cunning eunuch, with great power over the dark side of the society.

I really liked the plot. It was dramatic, but not over-stuffed with happenings, which would only harm the thing. The filmmakers managed to concentrate on one storyline (which is rather rare in 90s Bollywood) and it certainly was for the better. The performances were solid – Pooja Bhatt projected helplessness very well and Sanjay, though a tough guy, managed to show Ravi as caring and innocent man rather then an avenging machine. He is more like pushed into action by consequences, rather then searching for it, he does not seek a blood thirsty revenge, but simply defends himself and his loved ones, coming to terms with the past in the process. Plus Sanjay and Pooja made a really lovely jodi. The greatest impact (of disgust and repulsion, as well as terror) was however left by "Maharani". Bit of a caricature, but so well acted, that the character seemed terrifyingly real, and definitely waking fear in the viewer.

I was completely puzzled by the character of Pooja´s uncle though. So here is a man, who leads his niece into a brothel (the reason for which he did it is irrelevant), he is not at all surprised to see her escape later, BUT is majorly upset about her being in love with the man who led her out. T would have been better if the character in the second half was somebody else, some other relative of the girl, than the very same man who caused her suffering in the first place.

Of course the extremely dramatic scene where the nearly finished hero is made to suffer is not missing, what more – we get some shots that show the innocent Ravi crossed in a very Christ-like way, to really understand the physical and mental pain he is going through. And a bit later quite drastic and bloody climax, during which everybody who has survived in the film this far has to make an appearance, is in there too, all that being obligatory back in the day. The girl is saved, the villain is punished and a pimp is reformed. That is what I call a satisfactory ending, don´t you?