Nishabd - a silent but loud comeback!

Ram Gopal Varma has always been the best of story tellers. With Nishabd, he has proved it yet again. To start with, the cuts in the Nishabd promos had seemed so well timed and well placed, that I knew I had to see this flick. After Sarkar, I was expecting a lot out of this RGV film. I finally got to watch it yetserday night, and I asked myself, " How was it?". I never rate a film. I can't say if a film is good or bad or average. All that ever concerns me is whether the film-maker has successfully communicated his views and ideas. Enough about how I look at films! Lets talk about "Nishabd"! A dynamic Jimmy JIB cam, serene locales, convincing performances, sensible semantics, novel lines, practical outcomes & a little bit of an "oomph" overdose. The camera movement did reflect the spirit of the characters on-screen. The scenes in the woods, by the lake, with Amitabh and jia conversing, the way the camera sways around is interesting. At times it gives you a feeling that it might seem catalysing dizziness. But the camera is moving in conjunction with the mood of the scene. With such a honest story telling, its not much of a surprise if you see a couple of tear drops jumping off the eye lids right on time. Or the "shoooooo" of the well timed pressure cooker. I couldn't see a single scene which seemed forced. Except for some oomph pelting seductive finger-licking and open legs! At times you get the feeling that Jia's character has been trying to seduce the audience with her deliberately seeming prolonged butter licking out of her finger tips, or the way she sits down with spaced out legs. The award for the most understanding and non-violent, calm and composed, brother-in-law, goes to Nasir! Being a visual communication student myself, I liked the question " Why did you take this photograph this way?" to which Amitabh responds by talking about view-points and the line that "...every moment is ordinary, its how you look at it that makes it different" (if I remember the lines!). Allow me to share my views on each character (countable few, as is the mastery of RGV).

Amitabh, portraying the old photographer with a life that is snailing about his passion and books. Like any passionate person, there is this undying spirit that is obviously portrayed.

Revathi, playing the ideal housewife with the routine "saas bahu" serial (which at times makes you wonder if that was a deliberate attempt to make her look the cliched "boring"!) and the household chores.

Jia, the sultry young siren with her "accent"uated hindi and in the face attitude, behaves and looks confused. Again a deliberate overdose of arrogance while establishing her character (personal opinion!).

The daughter, who cries amazingly well, and who looks at her friend and her father with justified hatred and anger.

Mandal, the deaf servant! barely there!quite talked about!

Aftab, the "I love you Jia" Rishi! Irritatingly childishly striving to be "bhola" lover boy!

Nasir, the "most understanding" and "the best counselor". Was he a psychoanalyst?

Now, I can't wait to let out some nuances of the craft of RGV (as I see it as a film aspirant). Burgeoning anger and a whistling pressure cooker. The shift of focus from Revathi's picture of youth to her greying reality. The suggestion of physical proximity through slight brush of touch, or innocent arm-grabs. The way Amitabh recalls the kiss, and the way the innocence of the kiss vanishes with every flash. Like Sarkar, RGV again relies on strong visuals and powerful silent performances. Amitabh's head-laugh! at night did tickle the funny bone! Some conversations about a long married-life is quite thoughtful!

The background score did have a freshness to it. Even though since I had listened to "Rozana" the song almost rozana, I thought (from the lyrics) that there would be a murder somewhere in the plot. And there I loved the film-maker for he told me "Hey buddy, you were wrong this time!"

One other astonishing fact! Not a single slap in the film with so much scope for one! Now that is the work of a Maverick director!Hats off!! So much scope for raunchy scenes, but no! The master story teller is so well-versed with the nuances of narration, that he keeps it on the brim!
"Take Lite" kind of becomes over used at times! the silly blunderous jokes were quite interesting! "Maine khidki se dekha to bahar koi nahin tha..."!

Characters well established, except I felt that Nasir's, should have had some more insight! he is one important character whose one line " Do you think you are the right choice for her?" changes it all! Somewhere I felt, his relationship with Amitabh could have been portrayed convincingly. But hey! "No complaints"! The passage was well dealt with in terms of character placement (which again felt well planned and laid out, lacked a bit of naturality). One frame did remind me of "Raat"!!Arbit thought! never-mind!

A complex idea to deal with. "What if?" the golden words where great minds start thinking. Quite influenced from "American Beauty"(as I felt the way the sparks were portrayed!), but when it comes to indian context, its far more complicated. A task well accomplished! and again it addresses the issue with a practical outlook.

Priorities come into play as one strings with liabilities and committments. Very true!
Indeed...some love stories are not meant to be understood! Worth a watch, worth a thought!

DON or DON'T?

Would you ever kick with your limping leg? Not unless you are Jasjit, the muscular computer wizard, with samurai hair-style and dare-devil theft training. Rewind! Shahrukh Khan, Farhan Akhtar and the DON (old) - Three reasons for me to watch the film. First disappointment came through with the kind of cold introduction of such a strong and powerful character, the invincible DON. The portrayal of DON in the initial part seemed so dull and non-impactful, that I didn't develop even a slightest tinge of hatred for the character. The climax though is one ace that Farhan Akhtar has pulled out. Having seen the old DON, the climax comes in as a complete surprise. The three ladies - Kareena Kapoor, hardly sensous, Priyanka Chopra - Too "Croft" y, Isha Kopikkar - "Present Sir". Body language of DCP D'silva at times was next to preposterous. The one major glitche in the whole plot, I felt was the ease with which they could get hold of a look-alike for DON. Let go of the sky jump parachute snatching competition and the limping rampal heroics. Visually, the film is quite worthy of appreciation. The title animation appeared sub-standard and something not expected out of such a "huge" film. The title song was quite well shot and well done. The charismtic Khan lending his style and atittude to the brim. The kid performed well. Through the film, there were times when I felt the portrayal of the character (VIJAY as DON) was running into a lot of debatable ambiguities. But when I saw the climax, it was all well in place. The special effects are also commendable and a job well done. At times, too many split screens and screen chops add to a lot of visual disturbance. The action sequences are quite well shot. Some extra body guards still need "gun-hold-aim" training. I wonder if it was an act to cut down on the production cost, that the security for the "celebrated" DON was near to minimum in the hospital as well as on-board. Shahrukh Khan has delieverd what he could. The DON-costumes were well designed. But the initial build-up and the introduction of DON could have been better. The music was a let down. Shankar Ehsaan Loy songs are getting into the monotone twister. As for Farhan Akhtar, he sure has done justice to the remake in the way he twisted the climax. But he is yet to deliver another flawless like Dil Chahta Hai. I don't regret watching this film although it doesn't count as one amongst the lot I like.