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Nagesh Kukunoor, the director started off brilliantly a decade back and gave some exceptional movies like “Hyderabad Blues”, “3 Deewarein”, “Iqbal” and “Dor”. But his last movie “Bombay To Bangkok” and the current “8X10 Tasveer” stand nowhere close to his own set standards. The same can be said about Akshay Kumar, who seems to be lost in the gigantic hype surrounding himself. After “Chandni Chowk to China” this will be the second setback to his otherwise hit record.
The movie is based on a supernatural theme where Akshay can travel into the past by gazing on a picture and its individual characters. The subject looks exciting enough as we read or write about it, but the execution on the screen is not convincing at all as it lacks all the thrills and edge of the seat treatment required by the plot. Nagesh seems to be interested in making an artistic thriller, with long boring scenes, uninspiring writing and lazy editing.
The story moves slowly with no worth mentioning scenes or sequences. Even the over publicized shot where Akshay jumps from a cliff into the water is amazingly canned but has no relevance at all with the narration or script. Akshay seems to be quite confused and doing his role without any conviction. There was also news of both director and actor facing tough times together shooting abroad. Sadly, that shows on the screen and also in Akshay’s recent interviews given for the movie. The time gaps which occurred while making the movie may also be visible to the sharp enthusiastic bollywood fans. Interestingly the main picture in the movie, which has got all the focus gets easily caught as a reworked photograph with background pasted later.
In a suspense thriller, the climax holds the key to its success. The more interesting and shocking the last minute revelations are, more are the chances of movie hitting the bull’s eye. Moreover in a murder mystery it is always better that the culprit should be from the characters known to the viewer. If a sudden new entrant is introduced to be the killer then it takes away all the shock value and results in an unimpressive climax. This is the problem with “8X10 Tasveer” where the finale is too lengthy and not powerful as expected.
Acting department has got Sharmila Tagore and Javed Jaffery at their best. Javed should have been given more comic freedom in his expressions by the director as that would have added a lot to the movie. Akshay is not in form as he is always. In many scenes it looks like he is deliberately stopping himself from doing a comedy act. Ayesha Takia looks cute but lacks the depth required for the role. Benjamin Gilani, Girish Karnad and Ananth Mahadevan are ok in their short roles.
Cinematography is top rate, specially the chase and actions sequences. But its time our film makers should realize that usually songs are not meant to be there in thrillers and murder mysteries. All the songs are simply unwanted and not worth remembering also. On the other hand Background score is fine as per the demand of the subject.
Now about the Inspirational influences of the movie:
1. The camera view from the inside angle of an eye seems to be influenced from the movie “Being John Malkovich (1999)”
2. Akshay moving into the past and then people ready to bring him back with medical support is very close to the similar sequences in “Flatliners (1990)”
3. The movie poster with Akshay eyes staring in, has similarity to the poster of Anthony Hopkins brilliant movie “Instinct (1999)”
In the end I would only like to say that after watching “8X10 Tasveer”, I came to one conclusion that, both the talented director, Nagesh and hugely successful actor, Akshay now urgently need to re-invent themselves once again.
Rating : 1.5 / 5
Nandita Das, an actress known for her off-beat choice of movies and remarkable acting skills, wears the cap of a director and gives us a sensitive & thoughtful movie based on aftermaths of the Gujarat Riots, which unfortunately happened in 2002. Last year we had a brilliant movie “Mumbai Meri Jaan” which talked about different people who were victims or a part of Mumbai Train Blasts. On the similar lines “Firaaq” (means Separation or Judaai) tells stories of few people, their fears and the trauma they face after one month of the mis-happening in the state.
Though it may not be liked by mainstream viewers for its artistic treatment, but for a thinking viewer, “Firaaq” has depth, emotions and power to make you reconsider, what is the difference between two religions which causes so much hatred and bloodshed? Nandita Das succeeds in generating the empathy impact in the viewer as he witnesses the sequences on the screen. The film and its sensitive direction can make you understand the minute distinction in the words ‘sympathy’ and ‘empathy’. You can feel the pain of victims as if it was all happening around you. And the credit goes to the intelligently written, well directed and brilliantly cinematographed scenes throughout the movie.
The first scene itself is the most important and impactful scene of the movie which is capable of generating chills down your spine. It’s a graveyard scene where a loaded truck arrives giving more work to the grave diggers who already have enough bodies to bury together. In fact, this is the most powerful scene out of all the movies made on communal riots till date. The last time I felt this way watching anything on screen was when I saw Govind Nihalani’s “Tamas” many years back. So hats off to Nandita for this particular scene.
The movie then moves into different stories of people who witnessed the massacre, and are still haunted by the memory of those black days. Deepti Naval, as a middle class housewife is trapped in the pool of guilt of not helping the persons who came to her house for shelter. And now she is punishing herself each new day, thinking about her cowardly act. Paresh Rawal as her husband is a cunning materialistic person who is more interested in taking advantage of the communal tensions in the city. Shahana Goswami and her friend both earn by inscribing mehndi on the hands of ladies in marriages. How a simple “bindi”, saves them both from being treated otherwise is worth watching. A group of men manage to get a pistol with only one bullet and that also goes wasted in their own fight. A child gets lost in the big town, roaming around helplessly after all his family members are killed. The story of this child also gets connected with Deepti Naval and she takes him to her home. The conversation scenes between Deepti and the child are the most emotional ones in the movie which prove the immense talent Nandita Sen has got.
However there are two stories which stand out and have a lasting impression on the viewer. One is about a Hindu-Muslim couple (Sanjay Suri & Tisca Chopra) who have decided to leave the city after their store was looted and destroyed. Their confrontation dialogues and two minds situation has been shot realistically which touches your soul.
The other moving story is about a true old classical singer (Naseeruddin Shah), who still believes that everything is at peace out there and nothing has changed. Raghuvir Yadav is a person serving him for years but he has not got guts to tell Naseer about the brutal killings. Jagjit Singh giving playback to the classical singing of Nasser brought back the memories of “Mirza Ghalib” once again. And when Naseer is asked what he can do to stop this, he rightly says with grief, “Saat Suron Mein Itni Taaqat Kahan Ki Yeh Vehshat Rok Saken”. Very True!
Here I would also like to mention a scene I found both emotional and disturbing to a great extent. As Naseer and Raghuvir pass through a road sitting in an autoricksaw, Nasser suddenly asks the driver to stop and comes out looking for something. Actually he is looking for an ancient and ages old mazaar which is not there where it was from years. Raghuvir calms him down explaining that we are on the wrong road and everything is fine. This is another well conceived scene equivalent to the first seen in the start.
In acting department everyone is there doing their part perfectly and are also well suited for their roles. Out of all, Naseeruddin Shah & Sanjay Suri stand out with their true to life performances and are a treat to watch. Cinematography is of first rate and plays a major part in giving the realistic touch to the movie.
“Firaaq” actually, should be seen more as an artistic and thought provoking docu-drama than as a mainstream hindi movie. After the impressive & shocking start, your expectations rise sky high, which get fulfilled to some extent. But you also feel a little less satisfied as the movie finishes. That deprives “Firaaq” to be called an ultimate masterpiece, but still it is a movie which should be watched by everyone as a compulsion and you cannot afford to miss it.
That is why it also enters my “Movies To See Before You Die List” too.
So don’t miss it as it is an intelligent and well made gift from the charming Nandita Sen. Would love to see her more works very soon.
Ratings : 3.5 / 5
