Enamoredness Continues-Rajeev FC (New Link-151)

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Sumi_162710

@Sumi_162710

Rocker

Posted: 14 years ago

#591

^ Guess this person has different definitions of certain things!!

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Purnima

@-purnima-

Stunner

+ 4

Posted: 14 years ago

#592

Raja Sen says Shaitan showcases some great performances but still feels longer than it's actual running time. Post YOUR reviews here!

Welcome to the Anurag Kashyap universe. Populated exclusively by the very coolest of character actors, backgrounded by a blaring retro-loving soundtrack, and shot dizzyingly in hypertechnicolor. It is a world where even chaiwallahs wear smartarsed FCUK tee shirts and brutal cops have a thing for Van Gogh. Hipness is the language of choice. Debutant director Bejoy Nambiar shows his own twisted side with Shaitan, but the film has producer Kashyap's pawprints all over its treatment -- which is, eventually, what makes it watchable.

The humor is dark, the men are darker, the women even more frightening. Do we actually care about any of them? Not an ounce. But hey, look how cool they look, especially in ultra-slow-motion with a phooljhadi stuck in their mouth! Whoa.

Amy, she of the tragic backstory and Cinderella sobs, has just moved to Bombay, or, as she'd correct it, Mumbai [ Images ]. She's an initially charming child-woman, and unsurprisingly played by Kalki Koechlin [ Images ]. She makes a few similarly tormented friends -- a bulimic, a repressed geek, a masochist, a reckless nutjob -- and they begin to play, um, spin the bottle. Like the Breakfast Club only if breakfast was served at the side of the road at three in the morning.

It's like many, many movies, really. Kalki and Gulshan Devaiya meet at a formal party with impossible to swallow conversation -- "Want to start a joint account?", he asks, handing her one quite like The Bong Connection, only scripted in Radicalese. There is a Dilwale Drugs Le Jaayenge raid on a drugstore, and an overboiled Jaane Bhi Do Yaaron scramble with men in burkhas. They get into trouble with a moment disturbingly reminiscent of I Know What You Did Last Summer, and the film, overall, echoes a lot of Peter Berg's disappointing 1998 feature, Very Bad Things.

I personally do not have an issue with amorality in cinema. I'm all for men in cars accidentally blowing a kid's head off. But it needs to work. The characters need to be worth a damn, because they're genuinely engaging, because they fascinate morbidly, because they amuse or if only because they're too staggeringly cool to look away from.

This film features Rajeev Khandelwal [ Images ] as a truly bad-ass cop 😎 -- and my favourite moment is one where he kicks an uncompliant auto-rickshaw into action -- 🤣(seems fida on his kick like us 😆😆😆 but the kids who mess up are just either bad or asses. The cast is stronger than the characters they play, flip-flopping inconsistently based on moment, not motivation. Kirti Kulhari's Tanya lounges back, cool as a frozen daiquiri, and asks Amy "Hollywood, how many men have you slept with?" That distanced iciness is never seen again, and even if this were intentional -- considering that her character isn't as rich than the others and aspires to be something she isn't, so it could be part of an act -- we see too little of this internal struggle for it to count.

What we do get to see, over and over again, is a horrible flashback for Kalki's character, some filicidal malarkey involving mothers and mascara and bathtubs, but all this psychobabble serves to do is slow down the narrative and offer a half-hearted apology for its anti-heroine being a monster. And why the apologies and explanations at all? Why must a film calling itself Shaitan wear bunny ears instead of horns?

That said, the film punctuates its increasingly noisy but wonderfully well-lit predictability with significant quirk. There's a deliciously snide government official raking couples over the coals with her painstaking, sadistic dissection of divorce forms. There's a Parsi guy speaking convincingly faltering -- but not obviously bad -- Hindi. And there's that tough as coffin-wood cop scared to bits as he touches Koechlin, more than aware he's hugging a piranha.

And then there's quirk that just falls flat, like an actress hiding on the stairs flicking a lighter and flashing cleavage while a burkha rests slinkily around her, as if she's in a b-movie. Oh, and the hero of another Kashyap production showing up in an inspired and wonderfully energetic cameo, which would have worked entirely if the fun sequence -- despite a flashback within a flashback gag the writers succumbed to and had fun with, but which doesn't make sense -- wasn't completely out of place. At a point when a cop has slapped a kid and naivete spills out of every crevice, it isn't the time for a gag. This film never seems to get that balance.

What helps the film a great deal are the performances. Khandelwal and Raj Kumar Yadav are reliably terrific. Koechlin is an increasingly striking actress we desperately need to see unburdened by a nightmare character. Shiv Pandit shows an interesting, seething screen presence, Neil Bhoopalam fumbles adequately, but it is Devaiya's Karan Choudhary who lives out on a limb and leads this bunch by the scruffs of their necks. KC And The Moonshine Band.

And yet, because of the imbalance, the film feels longer than its two-hour running time. When Shaitan sets up a call to action, it chooses instead to do nothing, save a line of blow in scarlet light (despite cocaine being anything but a slow-motion substance). There are some crackling chases, but they each feel stretched beyond their limits. Just like the film's anti-heroine, the kind of girl for whom Mother Superior *should* jump the gun.

In the end, it's all flash. This Shaitan is more SprayTan than Satan, staring us down and daring us to look away. Who blinks first? We do. Several times over.

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shreya

@XoxowpdXoxo

Dazzler

Posted: 14 years ago

#593

Originally posted by: -purnima-
☺️ 😍 😳😳

looking super cool, hot , handsome , marvellous😍

Edited by shreyamathur_18 - 14 years ago

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aarthi

@aarsow

Sparkler

+ 2

Posted: 14 years ago

#594

Shaitan is the story of five youngsters set in the urban scape of Mumbai. Amy [Kalki], Dash [Gulshan], KC [Shiv], Zubin [Neil] and Tanya [Kirti] -- young, intelligent, good looking and 'uber cool'. With no hang ups and no boundaries, excitement is what they seek till a moment changes everything. An accident and their actions to cover up lead them through a series of incidents across the roads, streets and bylanes of Mumbai and into the dark side that lurks within all of us.

Inspector Mathur [Rajeev Khandelwal], entrusted with the unenviable task of chasing the youngsters down, exposes the underbelly of the police system and crime while grappling with his inner shaitan.

Watching Shaitan is like experiencing a tasteful David Fincher movie that's set in our neighborhood and helmed by an Indian film-maker. First-time director Bejoy Nambiar marries form and content magnificently; it's wielded with technical fastidiousness, while the various pulse-pounding episodes lead to a striking culmination. It's without doubt an intelligent offering with a poignant insight into the lives of five youngsters. The beauty lies in the fact that Bejoy not only takes into custody the erratic behavior of the youngsters, but also attempts to delve into their psyche. Also, the film explores how the addictive world of drugs and alcohol is corrupting and devastating the youth, although it restricts itself from getting into the sermonizing mode. In fact, it's a manifestation of what's happening around us in the current scenario.

I am tempted to mention all the sequences that gave me goose bumps, but that would be unfairly giving away too much. However, I wish to state that the sequence that changes the lives of the five youngsters -- the car chase and the crash -- is spine chilling. Your heart is in your mouth in this particular sequence. Beyond doubt, this is one of the most stimulating and intense films to come out of the Hindi film industry and Bejoy is unquestionably one of the most alluring discoveries of the year. He is far superior to a lot of established film-makers in the business.

I'd like to make a special mention of the spectacular cinematography [Madhie], novel, hard-hitting and forceful dialogues [Abhijeet Deshpande] and marvelous background score [Ranjit Barot]. The chase sequence [Jaaved Ejaaz] towards the second hour specifically is simply remarkable. Ditto for the sound design [Kunal Sharma], which is top notch.

On the flip side, the first hour isn't as persuasive. Perhaps, the motive was to reserve the best for the second hour. Also, the Rajeev Khandelwal track -- his marriage is on the rocks -- looks like a forced and unnatural add-on in the scheme of things. Without beating around the bush, the narrative could've done without the scenes of marital discord. Also, with such hard-hitting, uncompromising and dynamic content, Shaitan could've easily been a songless film, though the soundtrack is wonderful.

The beauty of the film is that there are no heroes in the conventional terms. The protagonists are all victims who face the consequences of their decisions and assessments. Also, Shaitan has an ensemble cast and offers ample scope for each character to perform. Rajeev Khandelwal, playing a cop who's fighting his inner demons, nails the role, giving a tight, focused performance. Kalki is excellent. She's sure to wow and shock the audiences with her act. Neil Bhoopalam is first-rate. Especially towards the latter moments of the film. Shiv Pandit gives a good account of himself. Kirti Kulhari is super efficient. Gulshan Deviah is top notch. The peculiar behavior comes across very well in several sequences. Rajat Barmecha appears in an interesting cameo.

The supporting cast also delivers fine performances. Pavan Malhotra is first-rate. Rajit Kapur leaves an impression. Nikhil Chinnappa is good. Rukhsar makes her presence felt. Rajkumar Yadav gets it right yet again.

On the whole, Shaitan is bound to raise eyebrows thanks to its contemporary, thrilling, hard-hitting and forceful content. One of the most ingenious and entertaining thrillers I've seen in a long time. Also, it's one of the most stimulating and intense films to come out of the Hindi film industry. I am sure everyone would be able to connect with Shaitan. Try not to miss this one!

Courtesy: Bollywood Hungama

Aarthi

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Fatima

@waniya_fatima

Stunner

Posted: 14 years ago

#595

aya rey aya rey 10th june bhi aya rey o rejeevians o rajeeviansss :

Hola ppl... kaifa haloka? kia haal chaal hai?

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aarthi

@aarsow

Sparkler

+ 2

Posted: 14 years ago

#596

Originally posted by: waniya_fatima
aya rey aya rey 10th june bhi aya rey o rejeevians o rajeeviansss :

Hola ppl... kaifa haloka? kia haal chaal hai?

ya sweet heart the waiting is over😊😆

walle kul asalam😛

tom me going to theatre, hip hip hurray

Aarthi

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Fatima

@waniya_fatima

Stunner

Posted: 14 years ago

#597

so Aarthi r u going iwth ur hubby? if yes then how would u drool over raj in his presence heheheeheheheh

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aarthi

@aarsow

Sparkler

+ 2

Posted: 14 years ago

#598

Originally posted by: waniya_fatima
so Aarthi r u going iwth ur hubby? if yes then how would u drool over raj in his presence heheheeheheheh

tatz not a problem at all sweety,😊 😆

the theatre will be dark😆

Aarthi

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Sumi_162710

@Sumi_162710

Rocker

Posted: 14 years ago

#599

@Fatima:

Hey twiny...it sucks to be at home...but still...enjoying reviews and all...😳

@Aarthi Dii:

Dark theater...🤣...cool. 😉 Enjoy the movie tomorrow!!

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aarthi

@aarsow

Sparkler

+ 2

Posted: 14 years ago

#600

A decade back, Anurag Kashyap directed his first filmPaanch which, despite being unreleased till date, is perhaps the most popular pirated film of Bollywood. For people who missed Paanch , Shaitan kinda revisits the basic plotline of the film, proving that Kashyap's directorial debut was ahead of its time and one can relate to its theme and treatment in today's times.

NRI Amy (Kalki Koechlin) shifts to Mumbai and makes friends with a bunch of urban brats who believe in living life on the edge. The gang includes the loaded KC (Gulshan Devaiya), a drug-peddler Dash (Shiv Pandit), model-cum-aspiring actress Tanya (Kirti Kulhari) and the idler Zubin (Neil Bhoopalam). A random hit-and-run episode on a dopey night lands them into trouble when a cop (Raj Kumar Yadav) tracks them down and blackmails for huge ransom.

In a tight situation, the gang mutually decides to fake Amy's kidnapping and ask for money from her father. Suspended Inspector Arvind (Rajeev Khandelwal) is asked to investigate the abduction case. Meanwhile distrust spreads amidst Amy and the group and things go horribly wrong.

While Shaitan borrows the basic idea of self-kidnapping from Anurag Kashyap's Paanch , everything else from the characters to their conflicts are original. The screenplay by Megha Ramaswamy and Bejoy Nambiar is riveting and runs at breakneck speed. The characters are introduced and established as early as the title credits roll, the youth euphoria soon follows giving an adrenaline rush to the narrative until the accident arrives with a jolt.

The flavour of the film keeps fluctuating as the tone of scenes keep changing from extreme tension to lighthearted moments but there is never a continuity lapse as such in the temperament. A techno-version of the yesteryear song Khoya Khoya Chand plays in the backdrop of a shootout-cum-runaway sequence in the second half and though the song is not in sync with the situation, it is so beautifully edited and incorporated that it compellingly complements the onscreen antics.

Shaitan has to its credit some of the most striking slow-motion shots seen in a Hindi film. R Madhi's cinematography is stunning as he captures some breathtakingly beautiful frames on his lens. Also he adds the requisite intensity to the scenes with his impeccable lighting effects and the wavering camera movements. Kunal Sharma's sound design is as much intricate and esp. remarkable is the deafening silence in the scene immediately following the road accident. Sreekar Prasad's editing is intelligent, crisp and never lets you lose the film for a moment. The soundtrack and the background score have a mind-blowing effect.

Shaitan gives a promising director to Bollywood in Bejoy Nambiar who is a smart storyteller and a techno-savvy craftsman. Nambiar has a unique sense of shot-taking esp. noteworthy being Rajeev Khandelwal's introduction sequence and the dahi-handi chase sequence in the climax where the action is pulsating yet pragmatic. While the mental trauma of Amy's mother's death adds depth and dimension to her obsessive character, at the same time the director doesn't dig much into her past. Nor does the narrative attempts to explore Inspector Arvind's estrangement from his wife (Sheetal Menon) beyond the necessary.

With the rampant violence in the second half, the film kind of goes out of control but the director soon takes a grip of the situation with a sensible climax. Unlike Paanch where the double-crossing and triple-crossing convoluted the plot, the culmination here is much simplified. It plays on the idea of the remorseful gaining redemption.

The performances are compelling with each actor getting to unleash the devil inside him. Rajeev Khandelwal has amazing intensity, yet is wonderfully restrained and never goes over the top. Kalki Koechlin as the damsel in distress is convincing though she goes slightly overboard with her abrupt obsession in the concluding reels. Gulshan Devaiya is the most impressive amongst the gang of five. Shiv Pandit underplays his part but lacks screen presence. Kirti Kulhari exudes the requisite sex-appeal. Neil Bhoopalam is perfect in his part. Raj Kumar Yadav adds authenticity to his short-lived character.

If you haven't seen Paanch , watch Shaitan to know what you missed. If you have seen Paanch , watchShaitan to know how it retains the essence of the original yet has an individual appeal of its own.

Aarthi

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