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EMOTIONAL ATYACHAR - Movie Review : Better than many recent big budget duds. (Review By Bobby Sing) |
Releasing with a very minimal promotional campaign, EMOTIONAL ATYACHAR is not likely to excite majority of viewers due to its unconventional title and not so famous cast. The film has nothing to do with Dev-D and its hugely famous song with a similar hook line. Still it surely has a lot of Emotional Atyachaar going on in its script where people are simply interested in the Big Money around them and they just damn care about anybody living or dead.
Revolving around a one night plot happening over the Mumbai Goa Highway, the script interlinks different stories of its various negative characters, who are all connected to each other in an indirect way. It starts off with a wounded man taking a lift on a lonely highway and then shows his connection with all the other characters in the script through a series of flashbacks.
The concept is no doubt inspired from the movies of Alejandro Gonzalez Inarritu who is known for several similar projects such as 21 Grams, Amores Perros and Babel. However, this particular style of repeating a scene from different angles (as experienced by few different characters of the story) was probably first used by the maestro Shyam Benegal, in his pure gem “Suraj Ka Saatwan Ghodha”. And I still remember the way its narration excited me when I first saw it in the mid nineties.
Returning to our current flick, it frankly cannot be considered as too good or perfect as it has its own share of flaws. But it certainly is much more enjoyable than many recent worthless films delivered by some renowned names in the Industry. The debutant director Akshya Shere displays his fine understanding of the medium through one specific sequence in the film where a newly appointed gang member tries to take out the bullet out of his wounded friend’s stomach and in that process unknowingly kills his friend with his own hands. This scene straight away brings back the memories of the good old RGV kind of cinema and that’s indeed a compliment for the talented Akshya and his entire team.
Ranvir Shorey and Vinay Pathak remain the highlight of the film with their famous kinky dialogues and style. But their fans are sure going to feel that there are not many scenes of the friendly duo together. The same may be the case with the viewers who were waiting for another movie of Kalki Koechlin after Dev-D. She no doubt looks charming and fresh but with a bit lengthier role she could certainly have added more glamour and spirit into the movie as required.
At one end, EMOTIONAL ATYACHAR scores on the basis of its unpredictable story plot and effective treatment but on the other hand its major drawback is its initial 45 minutes where the narration is too slow and uninteresting which fails to impress the viewers right from its start. However the film bounces back with a bang after its first hour and then its fast pace developments don’t even give you a second to think. But then the climax again hits a big low with a happy ending and the film finishes off without offering anything shocking or innovative.
In short, if only the director had taken care of its dull starting moments and the writers could have thought of a more engaging climax, EMOTIONAL ATYACHAR could have reached another qualitative status altogether. The Background score in this song less thriller supports the narration well and Cinematography captures its tense and exciting moments effectively. Performance wise, along with the famous notorious duo of Ranvir and Vinay, the film is full of many underestimated actors such as Kalki Koechlin, Ravi Kishen, Abhimanyu Singh, Snehal Dabhi and Anand Tiwari, who all contribute their best to this low budget venture. Especially Ravi Kishen stands out in his tapori avatar but Mohit Ahlawat & Sakshi Gulati are just ok.
Summing up, if you are really interested in the NEW AGE CINEMA Wave and don’t mind watching something out of the routine such as JOHNY GADDAR or SANKAT CITY then you may find EM much better than many recent big budget duds, which simply try to deceive the viewers with their grand looks and stars.
Ratings : 2.5 / 5
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03 Sep 2010 /
Comments (
6 )
Dinuth87
repeating a scene from different angles was first used by RASHOMAN. After that in 60\'s Satyajit ray made a film using the same method.
Bobby Sing
Hi Dinuth, I agree as I can remember many other films too using the same technique, but what i meant was the use of the style for the first time in Hindi Cinema. Also you made me remember another gem made on the same concept, rather more clearly on this particular technique as in "GROUNDHOG DAY" (1993). HOWEVER, I cannot recall Satyajit Ray using this method, so if you please remind me the one movie in which he also followed it, then it would be really great! Waiting for your reply! bobbysing
Dinuth87
colour film called Kanchejunha or something like that. it remembers me because of the shades and lights of the movie
Bobby Sing
Hi Dinuth, As you mentioned RASHOMON and KANCHANJANGHA, I was pretty doubtful on both, but I coudnt say it at once as I had seen these movie a long time back. But now (post your comment) after studying both of them once again I can confidently say that I was very right in saying so that Shyam Benegal used the brilliant technique in his movie for the first time. Now let me explain that : Akira Kurosawa in RASHOMON used the theme in a straight style in which he showed a same incident happening in different ways as explained by few different people as per their individual understanding and motives. Satyajit Ray again used the theme in a simple way in KANCHANJUNGA , where he interlinked various interaction scenes between his different characters in real time of a single day, happening around one single road or an area in a Hill Station. But in both the above mentioned movies though the scenes were talking about the same incident or were interlinked with each other but they were all shot differently and an exactly same scene didnt repeat in them at all. NOW here lies the difference or I can even say a much better use of the theme which was done by SHAYAM BENEGAL in his "SURAJ KA SAATWAN GHODHA". If you have seen this movie then you would agree but for all the friends who havent seen it, I will like to give them a simple example which will prove why I consider this particular movie, one of the best cinematic achievements made till date in Indian Cinema. Suppose there is a scene with three character A, B and C in the film. Now imagine this same scene coming in the movie for three times at three different intervals. At first the scene is shown taking A as the central character and the Camera is capturing the happenings on the screen as seen by A. At the second entry, the scene is the same, but now it is shown taking B as the central character and the whole camera angles are now shooting the same scene from B's point of view. And similarly, the third time the same scene repeats taking C as its main hero. Now that means the same scene was shot three times with three different camera settings but with the same dialogues, same acting and same character positions. BUT only the camera was running from a different angle each time. THAT WAS THE BEAUTY OF THE MASTER DIRECTOR, which I again saw in works of ALEJANDRO GONZALES INARRITU in his movies post 2000. So with due respect, for me, "Suraj Ka Satwan Ghodha" is an equal masterpiece or even better than these two movies of the world famous film-makers. And every movie lover has to see it as an essential text book material on the medium. I hope i was able to explain the technicality properly. Waiting for your reply. CHEERS!
charan
hi bobbysingh,
Dinuth87
If that is the case i agree with u. I\'m a big fan of Benegal but i haven\'t seen SURAJ KA SAATWAN GHODHA because it\'s hard to find his movies in Sri Lanka. Anyway i\'ll try to watch it. |
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