NH10 is a social thriller and horror which offers a dive at the heart of the darkest corners of the human soul. Thanks to his fabulous achievement, hard pace and quality of a cast led masterfully by the exceptional Anushka Sharma
Before we begin, I just want to clarify a controversy which took place on the internet. Many comments accusing the film of plagiarism I Spit On Your Grave and Eden Lake . For the first is to wonder if critics saw the film, since it belongs to the genus of rape and revenge ... here no "rape" so the same basis is totally different! In addition, the course is absolutely not comparable. For Eden Lake , you can find more ressemblences scriptwriting but NH10 is so ingrained in Indian culture, it creates such local identity that where the British film was just a riot of violence that began to hurt the spectator , its Indian cousin is terrifying because of its realism. What really differentiates is not to do in gratuitous violence ... The fact that it could happen anytime in India makes the hunt much more compelling and terrifying. In short, not possible amalgam NH10 is indeed an original movie!
Everything starts in a car, in the heart of a gentle and peaceful night. A jazzie background music accompanies the dialogue of a couple where one does not see the face. This process makes us both enter the intimacy of the couple almost disturbing way and on the other hand it places us directly in the impersonal dimension of the work ... as if we already Navdeep Singh warned: "It could happen to you. " Of course, make many plans on this road at night announces the importance that the road will be in this film, the apparent arrival of a journey that will bode well.
It also feels vulnerable, lost in the middle of this jungle of buildings. Strangely, we will later feel they are a protection between civilization and human horror that awaits our characters ... yet that violence also rode into town. What is striking in the early sequences NH10 is the ease of the filmmaker to deal with moments of sweetness. While the film is an incredible physical and moral, the intimacy of the couple and the intimate moments shared by Meera and Arjun are represented with great dexterity feelings without being silly, a realism of married life and characters who seem already familiar in a few minutes.
Navdeep Singh did not want to make his film a pretext, an ultra-violent défouloir in which he could indulge the fantasies of spectators to see a lovely lady suffering and revenge dramatically (but again this is very far the sensationalist side of I Spit On Your Grave ). Here, the filmmaker wants us above all about a woman, an Indian woman in everyday life, the challenges it faces, the condition in which it is located, either in detail or in extreme horror. And we understand that in the early stages, when the police blame Anushka seems almost to have been attacked at night, because a woman should not lead alone in the city at night. The goal is not to arrest the culprits, but to comply with the abnormality in order to live in peace ... A much more moral than physical sacrifice, which unconsciously built deviant attitudes and tragic.
And we see the character of Meera confront many times this evil that eats everything around it: a colleague who suggests that women find it easier to meet the boss, her boyfriend who makes fun of she suggesting that women can not read maps, misogynistic insult to the door of a public toilet, and then of course the horror and violence to which it will later encounter. The paradox is that certainly the young woman joins without realizing this dichotomy man / woman when sharing the cliché that men never ask their way. The distinction in language is innocuous, almost ridiculous, but instead in the posture of a woman who has learned to accept criticism of his condition and not make fun of stereotypes that are available to her. But Meera is a modern woman, active and with character. But many times we feel a kind of passive acceptance of his fate, which is terrifying.
Beyond a simple feminist reading, which would be terribly reductive for such a large work, NH10 offers a trenchant analysis of the traditions and social behavior in general. It starts from the second sequence with the social function that presents a look at the irony silent on social norms, gossip and repetition of useless information that everyone listens politely. The conversations are superficial, smiles stopped and good manners have not much credible, like the silent conflict between Meera Arjun when the young woman has to go to emergency at work.
Submission to these rules seem trivial when it occurs in "good society", but what about when the established model is not acceptable? When a crowd witnessing the kidnapping of a woman and her lover for what will become an honor killing, is it really normal to see that only Arjun tries to intervene? Besides the irony of this unhealthy indifference is at its worst when Meera is confronted with the ignorance of people it seeks ... thus including that the victim must have felt Pinky Meera when she even ignored his call help. This blind submission to established standards, this individualism wishing that we should not risk not to endanger these points are there that lead to the horror of the traditions that are discussed in NH10 .
And the rocker social horror in the individual with horror the ruthless hunt that follows. The film manages to keep us in suspense with a lawsuit about an hour, with virtually no time break. One can only be pasted in front of it, hallucinated before the brutal situation before our eyes. Missing a sequence is to risk missing a key element of this manhunt (or woman, it depends ...) captivating and frightening. The context of realism is heightened by the force with which Navdeep Singh takes us into the sets. You feel the warmth and moist opressante night we stick to the skin, you feel the twinges of aching limbs Meera, one perceives fatigue rising.
NH10 makes us switch to a world in which "democracy stops after the last supermarket city ", where men are beasts bloodthirsty where cars are mechanical monsters trying to kill, where even a child comes to your aid if bribed with money. This desert universe, composed of small remote villages where people look old traveling theater troop and drink tea curd. In every visual detail total immersion, which only heightens the tension, stress devouring whether our characters will survive if Meera will really take things in hand.
Realism is also present in the waterfalls. No shoddy heroism, heroes who continue to fight with five bullets in his body ... with NH10 we are not in India for action masalas. Even the realistic makeup helps make credible injuries, never too much.
If the movie contains some errors, they are minimal and are generally in the first part. So, we regret to not really understand what takes Arjun to continue the group of killers ... except to advance the scenario in the desired direction, this decision seems surprising. "Presentation" of this band lost a little rhythm to the film, especially since it stands there the villain / hillbilly caricature that is quite reminiscent of those that can be seen in Stephen King.
The style is so similar in the psychology of the wicked side glance seems obvious. In the end, it is especially the duel between Meera and Satbir is expected, and it has a far better written character, complex and perfectly terrifying. However, from the start of the hunt, we forget these slowdowns and end up sucked into the story, unable to leave the eye display. Moral violence is becoming more physical, and explodes on screen as rapidly as shocking.
Small comic touch, note the irony the "smoking kills" at the bottom of the screen in several scenes ... as if there is one thing that does not kill in this film punctuated with violent murders, it is the cigarette!
Between a solid screenplay and a realization if successful it was missing was a shock to make casting NH10 an excellent film. And it's done!
Anushka Sharma undeniably directs the film from beginning to end. Not content to deliver the best female performances of the year, she delivers what is arguably the best performance of his career. In its role as "normal" woman answering the social norms, to its transformation into prey / hunter, it is totally believable from beginning to end. Between gentleness, pity and terror, she conveys all her emotions and we even managed to freeze the blood. In the least of his gestures it embodies Meera, especially with this pen which serves as a stress relief to insufferable nerves at many scenes. Anushka is not a good actress is a great actress!
Darshan Kumar was the dream husband in Mary Kom , he became the nightmare of every woman in this film. Ruthless villain without any conscience, motivated solely by his instincts and his "honor" it is disgusting and terrifying at once. This actor has a lot of experience behind him, but it is definitely very promising!
Neil Bhoopalam takes a more linear and less prominent role, but he is doing well again. The player Shaitan plays with a lot of credibility Arjun composed many flaws but still endearing. In secondary role, special mention to Deepti Naval. The actress we have seen in films like BA Pass or Zindagi Na Milegi Dobara managed to score here we dramatically in just a few scenes.
Soundtrack side, one can recognize the work of Sanjeev-Darshan to the composition of the title track "Chhil Gaye Naina" title and a dark rock that sticks to the skin as well as the film. It will also retain the ballad "Main Jo" and the chilling "Le Chal Mujhe", two songs composed by different artists but stick perfectly to the story. NH10 manages to have an album that reflects the spirit of its implementation and that n 'never intrudes on the narrative.
In the end, NH10 is a social thriller and horror which offers a dive at the heart of the darkest corners of the human soul. Thanks to his fabulous achievement, hard pace and quality of a cast led masterfully by the exceptional Anushka Sharma, the film marks the minds and hypnotize the viewer from beginning to end. This is undoubtedly one of the greatest Indian films this year. Not to be missed!
If Prakash Raj plays the father, who has got the role of bad guy Bhadranna? None other than Gopichand here in one of his first roles at the time he made his debut by playing only the wicked. Since then, he will save damsels in distress with great style! The actor brings a certain relief to the character, not quite inhuman, not quite beastly, which we can not determine if it's love or pure desire that Shailaja research. One of the best scenes of the film is undoubtedly the one in which he stopped a performance of the Ramayana (clues to the source of the scenario are scattered throughout the film) and asks the actors to play a different purpose, where Ravan succeed in marrying Sita .
Sita / Shailaja interpreted by Trisha and it is clear that this is one of his most enjoyable roles. His character could have passed for a pathological sick (she speaks to rain anyway) but the actress makes us seem naive and endearing than anything else. Moreover, it actually shares some chemistry with the hero is none other than Young Rebel Star Prabhas. He fears nothing and no one, to ride bike on sunset background (a small Rebel side of Lorenzo Lamas) escapes blast jumping in the air, puts HS several trucks with a poor gun, robbed kicking as a person and of course wins a fight against one of 50 through a burning wheel ... and all with style!
The greatest asset of this friendly masala very traditional invoice is undoubtedly impeccable soundtrack by Devi Sri Prasad, full of frenzied dappas, romantic ballads and upbeat songs wish. The first clip is the best known, the one who is renowned Varsham , and which tempted to hundreds of spectators to discover this unusual film the video for the song Nuvostanante nenodentana .
Varsham is a brilliant demonstration that a film can go wonderfully in our eyes and in your ears while allowing your brain to rest.