After much insistence Urmi moves with the truth out: Avasthi is Rahul's mother - the two lovers are half-siblings! Many years ago landed Avasthi's son Rahul (Seth Smith) due to a tumor in the hospital. Urmi and Raj paid the operation, for which Avasthi wanted revenge. Since Urmi was barren, but wanted a child to Avasthi offered as a surrogate mother ...
Incest in a Bollywood film? Courageous, bold, I would say, if only avoid ending the subtitle of my DVD would fail precisely at that point that would clearly specify whether it was really incest, the Rahul Neha and have operated here. I tend to not, in view of what happened after that. That's probably not a real spoiler, finally I do not know really. Stupid DVD. For this offers the disc as a "compensation" two alternative ends: a tragic, that's better, and a happy, which acts designed. Both, however, are not great, but that is true anyway for the whole movie.
Overweight it is for one reason only: Because of the comebacks of Bhagyashree. The beautiful 38-year-old made his debut at the age of twenty years in the super hit Maine Pyar Kiya and married thereafter. Although she appeared in a pair of non-Hindi films, but the mother role was going. And in recent years were only cameos à la Humko Deewana Kar Gaye in it. "Janani" was her first leading role in a Bollywood movie after this long break and the woman still looks stunning, confident their game. Bhagyashree is the best thing about the film.
The other players settle further down - in descending order: Mohnish Behl that something spasmed Ayesha Jhulka, the Aman Verma chargierende, sexy debutante Sonica Handa (which unfortunately can not dance) and debutant Vineet Raina. Really bad no one acts from this ensemble, but the tried staging makes them a spanner in the works. In the hands of director Chander Bahl topics such as incest, artificial insemination and brain tumors to soap operas gimmicks are sold at a loss, gets none of it, you can see from the accompanying thunderstruck multiple zooms in announcements of relevant issues from the necessary dramatic weight.
Even the central issue of surrogacy is the latest since Chori Chori Chupke Chupke even in mainstream cinema is old hat. There seems well intentioned but too forced. The twists in the plot can be seen anyway surprising once previously, for that you need to be a shrewd Bollywood connoisseurs. All the boring looks of the film, a feeling that is reinforced by an excessively large amount of mediocre songs. Janani tackles issues that have yet dynamite placed in a Parallel Cinema movie 20 years ago, but watered down here and are therefore uninspired.
The imagery of Chori Chori Chupke Chupke cameraman Thomas Xavier is nice, the actors play passable, but the film lacks credible drama and traction. A comeback, but hopefully Bhagyashree can not assume too intimidating.
Hamid stumbled out of the bar, drunk as usual. An unfortunate blow and now the big sign that workers were being installed collapses, crushing the Drunk. The Muslim community in the small coastal town of Maharashtra, imam at the head, going to bury him in his white shroud. They are reciting the last prayers when an excited group emerges to claim the body freshly planted. The tone rises. Himad would not be a Muslim but Hindu. We do not bury a Hindu is not it? It burns. Moreover, it is not called Himad but Kishan. The police intervenes and makes digging for the store at the morgue. It only remains to wait for justice statue on its official religion.
The judge right from wrong. Hamid / Kishan was clearly born in a Hindu family. But he was also married to Fatima (Tanvi Azmi) for 20 years. Yet it was not registered at birth. His conversion to Islam on the occasion of her marriage has not been registered. There is nothing that makes tip the balance one way or the other. What to do? Tempers flare. The new police chief (Vinay Jain) is lost. Mutha Seth (Satish Kaushik) politician whose image has killed the poor wretch, is also the owner of the local newspaper. What a good idea to boost the sales of exploiting the tragedy ...
Feroz Abbas Khan is primarily a playwright. He started his career at Prithvi Theatre Shashi Kapoor and Jennifer Kendal before writing and staging many successful plays. Dekh Dekh Tamash is his second foray behind the camera after Gandhi, My Father has won many awards it was released in 2007. It addresses here jauntily a particularly sensitive topic: the relations between Hindus and Muslims. The riots that oppose occasionally the two communities show that the wound of the partition is not completely closed. However, the authors do not hesitate to scratch ... and it hurts.
The distribution of the film is very unusual in a film industry that relies heavily on the star. Satish Kaushik, known primarily for secondary comic roles, the actor is the most famous of a distribution consisting essentially unknown. If there are no familiar face, there is also no main character, no hero, not really nasty. The whole village revolves around the body of a miserable drunk one sees three seconds at most. There is no dance or song that can interrupt the narrative. The very incisive writing Shafaat Khan takes us no loopholes in a unique story that lasts only ten days in a place that seems very remote. Each character has a few scenes to speak, but it is not filmed theater or an ensemble film. Dekh Dekh Tamash is like an amazing impressionist mural movement where we taste every word, every gesture, every look.
Dekh Dekh Tamash begins with the exhibition of the protagonists. The first scene and presents a tearful policeman denies failing to protect the virtue of "Madam Elizabeth" [ 1 ]. We think of a joke and a smile franc moved on our face the viewer. The purpose is caustic and brilliant text. We think we are on familiar ground. Perhaps we are before another OMG - Oh My God . But slowly, slowly, the smile freezes. Concern wins and he gradually transformed into a grimace. We will not believe what you see. One might even cry when you have to face the facts that human stupidity has no limits.
Fatima, the Muslim widow is resigned early this seems a bit odd. But as the tension around the body of her husband intensifies, we finally understand why she does not even have tears to shed. She knows from the beginning that things are very bad end, as always ... The short dialogue with her daughter Shabbo (Apoorva Arora) before the twist ending is poignant. The poor girl was in love with Prashant (Alok Rajwade), a lovely Hindu kid. Together, they symbolize innocence crushed into a hell of senseless hatred. Just for the two of them, one begins to hate the dogmatic religious and the crowd of their zealots fools. Without the need to press his message, Dekh Dekh Tamash is a rare force.
The authors took a big risk by making a film about the riots that oppose Hindus and Muslims in a country where a single spark is enough to cause dozens of deaths. Leagues of each other are always ready to pounce on behalf of their religious feelings violated. The solution is an acid and devastating humor that spares no one. Actually Hindus and Muslims are treated in exactly the same way. Muslims have a lot more exposure, as if the author knew much better this community (which should be the case). Thus Maulana (Sudhir Pandey), professional preacher, is an anthology character. His description of the benefits of houris is as ridiculous as tasty. But his sermon ends with the mandatory wearing of the burka and the banning of girls to attend public schools. We start by laughing and eventually strangle.
Hindus are not forgotten with a speech that will be remembered. Invoking Gandhi and martyrs of the independence and the blatant distortion of reality are also jubilant. These populist harangues refer directly to the prevailing political discourse in India and elsewhere. To drive the point, Mutha Seth, when dressed in his running suit, dresses his profession for the winter. Everyone takes for his rank, corrupt police with his sadistic members as the press is ready to sell at the worst of the paper. There are so few who keep a cool head one might think that India is a lunatic asylum adrift.
Indian cinema usually shows characters with very nice background who face adversity with fatalism. Dekh Dekh Tamash will totally backwards. The information is as violent as the evil it does arise in most of the protagonists. Fate seems to end up killing each other, but we who fight against this deadly the spiral. The film is even an issue in the wisdom of the law, the only one able to overcome a gregarious obscurantism. Some thought that the fall was unrealistic. Perhaps, but it is clever and reassuring.
The actors from the theater or television for the most part are absolutely impeccable. The situations are incredible, but none overplayed. Even the chorus of mourners - yes there is one - adopts a right tone. It is usual in a critical distinguishing one or more actors. It is not possible here, they are all in the service of a text by extraordinary times. Realization is not left with moments of brilliance which is not expected.
The history of fighting for what to do with the body of a deceased person that no one knew was real. This is the starting point of a difficult film to categorize. In summary, Dekh Dekh Tamash is a political satire about a major social problem using the springs of comedy and drama. Then we laugh and we cry, we are scared and relieved when it ends.
Feroz Abbas Khan director hoped his film would weigh on the general elections in 2014. He has twice failed because the Indian public has largely shunned and Narendra Modi was comfortably elected. Whatever, Dekh Dekh Tamash is original, addictive and brilliant. In a wonderful word!
Jani Dekha Hobe