Film:
Asambhav
Starring:
Naseeruddin Shah,
Arjun Rampal, Priyanka Chopra, Dipannita Sharma, Anupama Verma, Sharat Saxena,
Jameel Khan, Mohan
Agashe
Director:
Rajiv
Rai.
Rajiv Rai
is in many ways the guru of hi-tech potboilers in Hindi. He shoots this
gun-gals-gizmo film on international terrorism with a multitude of cameras.
Often we
get split-screen views of the conflict on hand, with different cameras capturing
the characters at different places simultaneously as they tackle the drama and
politics of terrorism. At times we don't know where to look. After a while we
give up.
Rai
doesn't lag behind in technique. The techno-driven soundtrack gives a jagged
edge to the plot, as our strong-and-silent commando officer Arya (Arjun Rampal)
goes about the task of rescuing the Indian president (Mohan Agashe) from a
chaotic clutter of
villains.
Oh,
the rogues come in all sizes, shapes and ages, from Shawar Ali to Naseeruddin
Shah, who exerts his cool demeanour on a script that allows an actor of his
stature no breathing
space.
There
are no porous surfaces in Rai's stifling thriller. He clutters the plot with
more characters than participants at a rock concert, clamouring for attention in
various wigs, get-ups and attitudes.
There are
three clearly demarcated levels of villainy.
In one
corner we have Pakistani 'general' Milind Gunaji and terrorist Mukesh Rishi
plotting over Kashmir. In another corner of the crowded plot, there's
Naseeruddin Shah and soul brother Tom Alter running a kind of mercenary ashram
for the wannabe millionaires of the world. And then there's the Indian high
commission in Switzerland, overloaded with caricatures, including a Brahminical
poet who recites the worst couplets we've ever
heard.
To
decode the motivations of different diabolical factions is an impossible task.
Let's just say the villains and their underdressed molls have a field day,
grunting and gyrating to the invisible sound of a drumbeat that takes the
narration closer to catastrophe with every passing
beat.
At
some level,
Asambhav
could have served as a thrill-a-minute, indigenous Mission Impossible, with the
Kashmir issue in the backdrop. But the crowded carnival of characters and a
certain inherent tiredness in the telling of the terrorist's tale robs the film
of its basic stock
value.
Some
of the action scenes by Mahendra Verma are conceived cannily. When the villains,
the hero and his sidekick (Jamal Khan) head for the prolonged climax, shot in a
picturesque castle that has surely seen better tourists, Arjun Rampal comes into
his own as an action hero.
His
controlled body movements and his overall penchant for understatement in a film
that shrieks for attention is a
relief.
Priyanka
Chopra, playing the archetypal crooner-cum-club-dancer, has grown more confident
before the camera. If only filmmakers would use her glamour more temperately
instead of scattering it all over like confetti at a rowdy boys' reunion party.
Curiously,
while the film swarms with slithering senoritas, no one registers as a real
entity.
Viju
Shah's music and Remo's choreography are at best, bland. The cinematographer
Sukumar Jatania scampers after the impatient narrative. No shot lasts longer
than 10 seconds. No character on the run ever gets to complete his task. The
cameras do the needful.
What's
truly astonishing is the absolute and unquestionable absence of emotions and
melodrama.
Asambhav
is arguably the only mainstream film ever with no mother-figure on the hectic
horizon.
But
absence of melodrama cannot in itself be a virtue unless it is compounded by a
moist quality in the overall design of storytelling.
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