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Rate episode 66: "Ekk Insaan Do Maut"
Originally posted by: Love_Katty_24-7
Finished first half.
Movie is looking interesting although a bit dark. Although there is a right blend comic relief with guy who plays constable, press owner and that newspaper selling kid.
Till now nothing much is revealed only that Akki kills the guy and surrenders, and some flash backs are being shown. Courtroom drama is yet to release.
Akki is looking dashing and his performance till now is polished and dignified. Waiting for second half to see different layers.
Ileana is looking gorgeous and has done decent enough job. Esha Gupta is disappointing as she had done not much.
The guy playing the investigating officer is as always to the point, the constable is excellent
Till now cannot say much.
Lets wait for the second half.
Btw they are showing all the trailers, amusing.
Xxx, baar baar dekho, dhoni, pink, Shivaay.
'The uniform might be the most accurate thing about this film, however, a painfully tacky production where all the sets look like over-saturated cardboard,' says Raja Sen.
The first time we meet Esha Gupta in Rustom -- a film set in Bombay 60 years ago -- she's spending her afternoon in a satin-covered bedroom bathed in golden light, wearing a white corset-like garment while smoking a cigarette using an exaggeratedly long holder.
The second time we see Gupta, she's lounging by the side of a swimming pool wearing a candy-striped swimsuit and an XL-version of Lolita's sunglasses.
It may confound you that I'm starting off a review mentioning a cartoonish vamp who is a secondary character -- Gupta, after all, does not play cuckolded husband, cheating wife or dead playboy -- but I felt it important to be honest and start this review off with utter absurdity instead of bringing up the mythologised Nanavati Murder Case this film is somewhat based on.
You see, no possible fiction-based-on-fact disclaimer could have prepared me for the fact that Rustom is a parody.
That, I believe, can be the only explanation for this daft film. Akshay Kumar -- who we meet on a ship where officers march down corridors even when nobody is watching -- is Naval Commander Rustom Pavri, a decorated officer who has brought his ship home early.
Despite a shapeshifting moustache that, from scene to scene, oscillates between that of Errol Flynn, Raaj Kumar and a felt-pen attempt to draw a clothes hanger in silhouette, Rustom nevertheless makes sure his white Navy uniform is spotless.
Even when he's locked up in prison, where he plays chess and reads Sun Tzu, keeping his expression stoic enough to perhaps ensure a state of zen that brings about creaselessness.
Do officers get locked up in full dress uniform? This one does, possibly because the producer -- also Mr Kumar -- likes the way he looks in those superb, stiffly-starched whites.
The uniform might be the most accurate thing about this film, however, a painfully tacky production where all the sets look like over-saturated cardboard and all the taxicabs are gleaming.
The colour-correction is atrocious, inconsistent even between the faces of two people speaking across a table, and, at one point, an injured wife staggers into a room with her head stained red, looking for all the world as if she'd collided with a plate of gulaal.
This wife, played by Ileana D'Cruz, is the reason Rustom is in prison. She's been cheating on him with Vikram Makhija, an insouciant playboy with an alarmingly technicolor wardrobe -- even his bathrobe looks like it belongs to Bam Bam Bigelow.
D'Cruz, who flits between a pair of awful accents, is vacuous throughout this film, but never more so than in the unending courtroom sections, where she looks as blank as if she were being grilled about why Barfi was made up of stolen scenes. Which is to say she doesn't have a clue.
Neither, it must be said, does the director. Tinu Suresh Desai, who made the gormless 1920 London earlier this year, tries far too hard to make a thrilling true-life case into a thrilling film.
Playing it straight would have sufficed, but Desai resorts to odd dialogue, a bewildering climactic twist, and immensely ill-conceived attempts at comedy.
Armed with a cinematographer who loves abrupt and misleading pan shots, Desai stitches them digitally together to impress us, going from scene to scene, character to character in a single swivel.
Alas, his idea of a policeman interrogating suspects in revolving-door fashion loses all potency when we see that after all these conversations, he's only scribbled three words -- words like 'dost' -- on his notepad.
The film starts off relatively cleanly -- save for the art-direction -- but then Esha Gupta, in a parade of cleavagey dresses, comes along and reminds us that we're watching trash.
This is basically a Bhatt film + Akshay Kumar. Kumar is calm and stiff even as the film gets increasingly atrocious, with decent actors like Pawan Malhotra, Kumud Mishra and Sachin Khedekar wasted. Khedekar is particularly slaughtered here as a hammy prosecution lawyer. 'Objection, m'lord, the loudly-gasping lawyer is overacting and misleading the audience.'
The Nanavati Murder Case -- one where public opinion lionised the naval officer to such a degree that its Not Guilty verdict marked the end of the jury system in India -- was a landmark.
It was a case where the tabloid Blitz successfully manipulated an eager, righteous audience, and a case where enterprising street-side peddlers sold toy guns by calling them Nanavati Revolvers.
It is a case, in short, that deserves good cinema. Cinema that, like any intelligent murderer, understands that it is indeed all in the details.
For half a minute, a highly distinguished Parsi gent shows up and immediately classes up this film, but that's about all. Despite Kumar's valiant (albeit overdressed) attempt at calm and gravitas, this film is bilge, unintentionally hilarious and eventually tedious.
The only way to salvage it would be to add a too-loud laugh track, give Gupta a trampoline, and call it Carry On Rustom.
Rediff Rating:
Director: Tinu Suresh Desai
Cast: Akshay Kumar, Ileana D'Cruz, Esha Gupta, Arjan Bajwa, Sachin Khedekar, Pawan Malhotra
The movie watching experience of 'Rustom' is very different as compared to other films that take you back to the 60's. Directed by Tinu Suresh Desai, the movie is unique on multiple levels for some of the genuine efforts that he has put in and deserves a mention. Be it the use of vintage cars, the interiors of Rustom's ( Akshay Kumar) Parsi house, the set up of a police station or even the courtroom, they all look believable. Yes, but in few scenes projecting old Bombay roads in the background, the VFX is poor and it could have been much better.
The movie brings to life, famous the K M Nanavati Murder case that got nationwide attention in 1959. The film is not a 100 percent accurate reflection of the case as the makers have taken some cinematic liberties. But it does bring to light the court room drama and the attention this case got all across the nation and the public sympathy the naval officer got.
Rustom Pavri, a decorated naval officer, finds out about his wife Cynthia's ( Ileana D'Cruz) affair with a hot headed businessman Vikram Makhika played by Arjun Bajwa. After an honest confession by Cynthia, Rustom is completely shattered by her revelation. He heads straight to Vikram's house and murders him in cold blood by firing three shots in close range. Preeti, Vikram's sister (Esha Gupta) decide to go after Rustom till he is put behind bars.
This makes way for a courtroom drama that gets spectators, supporters and haters all assemble eagerly at the court to catch every glimpse of the case. A glimpse of women carrying a board which reads Marry me Rustom' is also shown in the film.
Written by Vipul K Rawal, the movie has a clear intention of entertaining the audiences. Believe it or not, the most intense scenes in the court room have been turned around into a comic affair. While this works in some scenes, it falls flat as it mostly comes across as over-dependent. The comical relief has its strength but it also takes away the seriousness of the film. The dialogues given to Preeti, for the courtroom scenes, are very out of sync for a character who is mourning the death of her brother.
Coming to the performances, it is Akshay Kumar who ensures that the audiences are glued in despite certain distracting elements in the screenplay. His role is complicated and needed a lot of effort to convince the audience that he is morally right. The behaviour and appearance of his character are very crucial to his impact on screen and he gets it absolutely right. Ileana D'cruz's lack of chemistry with Akshay Kumar is a downer. Esha Gupta, with the swagger and the 60's look does manage to leave an impact.
Pawan Malhotra, who played Lobo,an investigating officer, delivers a fine performance and justifies his screen time. His interrogating scenes that involve all the witnesses have also been shot in a very interesting manner. The camera focuses on Lobo and every time the camera moves back to a chair, the witnesses keep on changing. All this is achieved without any cuts which is very commendable. Anang Desai as the judge had his own way of making people laugh with his dialogue delivery. Sachin Khedekar plays a prosecution lawyer who on many occasions makes a fool out of himself in the court room.
All in all, 'Rustom' is a one time watch for Akshay Kumar.
By Aniruddha Guha,Friday, 12 Aug 2016
There are films that are bad, and those that are so bad they are good. Then there is Rustom', a film that's a spoof on itself (calling it self-parody would be giving it too much credit). What else could explain characters doing and saying the most outrageous things with a straight face? Or rib-tickling dialogues (written by Vipul K Rawal) in what are meant to be intense dramatic scenes?
Zee Studios
Sample this: "Casanova" Vikram Makhija (who is shown to be sleeping with exactly one woman through the course of the film), played by Arjan Bajwa, plans to seduce Cynthia (Ileana D'Cruz), the wife of an Indian naval officer, Rustom Pavri (Akshay Kumar). He's spending time with Cynthia in his lawn one evening, when there's a rumble in the sky, followed by lightning. Our Casanova turns to the woman and says, "Lagta hai bin mausam barsaat hone wali hai." No prizes for guessing what happens next: it begins to rain, bin mausam. Familiar scenes follow. The drenched couple runs for safety, the woman trips (getting what old-time seducers like to call a "moch"), creating a scenario for Nova to take her to his bedroom. Then, writer Rawal and director Tinu Suresh Desai subvert the drama, opting for the couple to get it on in a car much later in the night, instead of heating things up in the bedroom. Because predictable.
Zee Studios
Desai's choices are puzzling. His idea of making a period film includes painting all the walls of a set in singular colours (green, blue, even orange), and dressing up his characters in some truly eye-popping costumes (not Kumar; he wears a freshly-starched naval uniform, whatever the scenario). Vikram's sister is played by Esha Gupta, an astoundingly clueless actor made to wear the ugliest outfits in what seems to be Desai's desperate attempt at recreating 1950s' fashion. Gupta does something unimaginable - she maintains the same smug expression through the course of the film and somehow manages to make even that seem unconvincing.
Rustom has a decent plot in place - based on the Nanavati murder case of 1958 - and the perfect actor in Kumar to play a wronged naval officer, who decides to avenge his wife's betrayal by killing her paramour. There are many other strands that have been taken from incidents around the real-life case, like how the tabloid Blitz' managed to turn public opinion in the favour of the accused, resulting in his acquittal by a biased jury. Other interesting anecdotes make their way into the narrative, like how towels were peddled outside the courtroom where the case was heard (the victim was found dead in nothing but a towel), and how touts made a killing by offering seats in the courtroom in exchange for a fee. It's a fascinating set-up - the case captured the imagination of Indians then, in ways similar to, say, the OJ Simpson trial in the US.
Zee Studios
But Desai's treatment is appalling, right from the awful performances he gets out of his actors (even junior artists overact, often bringing attention to themselves), right to his puzzling post-production choices, like jumpy transitions and the tackiest use of VFX in an A-grade Hindi film (oh, those orange skies).
Kumar, somehow, manages to keep his head above the madness, bringing grace and restraint to his role. Every other actor, even the usually dependable Kumud Mishra, overacts. Veterans like Usha Nadkarni, and Sachin Khedekar as the prosecuting lawyer, deliver some of their worst performances, with Khedekar often confusing palpitating for acting. He also delivers some of the film's cheesiest lines, with Rawal giving him a dialogue - one word - that beautifully sums up the Rustom' experience. He spouts a lot of gibberish in one scene, before pointing out that Rustom's defence is "unintelligible".
Yep. That's Rustom'. Unintelligent, surely. But mostly unintelligible.
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