VEER drives home a few hard facts...- No amount of gloss can substitute for an engaging story.
- Not all directors are capable of pulling off a period film.
- No star - howsoever strong his rankings are - can infuse life in a comatose script.
Everyone's awaiting VEER with bated breath. The film industry will get another breather if VEER goes the 3 IDIOTS way at the box-office. The junta will have one more fascinating genre to look forward to, if VEER appeals to them. But your hopes go crashing as reel after reel of VEER unfurl.
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VEER is about a warrior and at the same time, it's a love story too. Sadly, neither does it evoke any patriotism, nor does the love story make your heart go dhak-dhak.
Final word? You have to be a veer to sit through VEER. Colossal disappointment!
As the British enslave India with their devious Divide and Rule policy, kings and nawabs fall to their guile and cunning schemes and entrust their precious kingdom to the foreigners. Except for the brave Pindaris, who prefer death to dishonour and will fight to their last breath to save their land.
The bravest, the toughest, the strongest of the Pindaris is Veer [Salman Khan]. As Veer takes on the might of the British Empire, he also has to fight the conniving King of Madavgarh [Jackie Shroff] as well his own jealous tribesmen. At stake is his love for princess Yashodhara [Zarine Khan], daughter of his sworn enemy. At stake is his thirst to avenge his father's dishonour.
VEER has it all - great stars, opulent and majestic sets, adrenaline pumping action scenes, but no soul [read script]. The movie begins with a bang, but the moment the story shifts to London, it crashes!
The sequence at the interval is interesting, although it remains a mystery how Puru Raaj Kumar gets to know of Salman's identity. At this point, Salman becomes a killing machine, slaughters more than a dozen people in the hostel campus [including a few gora soldiers] and conveniently escapes from London with a badly injured brother [played by Sohail]. Now that is taking it too far.
The second hour goes on and on and on, emphasising on unfulfilled promises, seething anger and revenge, love and freedom and frankly, you are least bothered by now. In fact, you lose interest in the proceedings. Period. The climax is so long drawn and more of an anti-climax, while the ending is bizarre and unintentionally funny.
Director Anil Sharma fails to deliver. That's the bitter truth. The project had everything going in its favour, but alas, Sharma and his writers make a complete mess of the story. Sajid-Wajid's music is melodious, but why repeat one song ['Surili Ankhiyon Wali'] again and again? The background score [Monty] is top notch. Gopal Shah's cinematography is splendid. Tinu Verma's action scenes are dynamic and in fact, the saving grace of VEER. The production design [art: Sanjay Dhabade] give an authentic feel of the bygone era.
On the whole, VEER proves the age-old adage true: All that glitters is not gold. The film may open very well at single screens thanks to Salman's popularity and the hype surrounding the film and may also enjoy a healthy extended weekend [Tuesday, 26th January is a holiday], but given its exorbitant costs and poor merits, VEER will face an uphill task to recover its costs. This one's a monumental disappointment!
the wating room movie review
What is it all about?
RGV goes a welcome transformation via first time helmer Manneej Premanth who with his razored tight narration ensures that screws are kept tightened expertly almost to the penultimate scene in this gripping psycho thriller about a maniac serial killer who makes life hell for the four passengers waiting in a waiting room at a distance south Indian railway station.
Many some things like this has been attempted and will continue to be done but ‘The Waiting Room’ with its master cinematography by Dilshad V.A that captures the mood almost perfectly with the rain and fear soaked ‘Thenmadi’ railway station which carries elements of thrill and suspense with respect to serial killers and it doesn’t turns gory though it starts with some chopping of female parts, otherwise this low budget 1hr 30 min is a thrill pill at your nearest theatres provided you know its there.
Amazingly the promoters have maintain a low key for its promotions maybe they are hoping for a fat satellite returns but nevertheless, it has the elements for a decent 90 minutes thrill hour for those who enjoy such things on screen.
Apart from the smart use of camera, Manneej Premanth uses the expertise of his friend with scissors Baiju Kurup effectively and also gets valuable support from Shashi Perumanoor’s art and Shajith Koyeri- Sreejesh Nair’s sound.
The actors Raja Choudhary as Karan the suspicious man, Radhika Apte as Tina the girl who’s the most frightened among the four and the middle aged Gujarathi couple Sandeep Kulkarni and Pratiksha Lonkar chip in with some fine performance and keep the momentum going.
But honey, an unconvincing or rather say hurried climax spoils a lovely thrilling date and we wonder how come an amateurish ending can mercilessly almost kill the flick.
The story…..of course
A convincing tight unwinding would have made RGV piss with his pants on but alas…anyways the story is set in a waiting room in a small town, where 4 people are stranded one rainy night, waiting for the only train in that route.
When people are alone at a point of time in their life in a world where no one is trustworthy, they suspect everyone. This suspicion develops a story, a story of mistaken identities.
What to look out for?
Excellently shot considering the ‘dhoti’ budget with brilliant camerawork and technicalities which is simple and yet striking maintaining the mood of the psycho thriller which scores on the built up and the developments surrounding fear and not the actual killings, chippings or any omen. Nice performances from the principal cast.
What Not?
Oh baby the climax is unconvincing and hurried that irritates you by leaving you high and dry.
Recommended: Certainly for those who want to take a break from the routine but it comes with a warning.
Rating: ***
