Prahaar: The Final Attack

Sunday, March 03, 2013

Peter D'Souza (Gautam Joglekar) leaves his fiancée Shirley (Madhuri Dixit) back and reporting for military. He comes in the unity of Major Chavan (Nana Patekar) and is drilled brutally by this. Since Peter is one of the best soldiers of the squad, he is recruited by Chavan for use in which it is to do three terrorists who have a bus full of students at their mercy. In the attack Peter is shot. He gets a national award, but remains paralyzed. Back home he is victim of thugs from the neighborhood who kill him. Chavan, who has traveled to the wedding of Peter and Shirley and now even with Peter's father (Habib Tanvir) encounters a wall of silence, the matter assumes and only gets help from a woman: Shirley's aunt, the widow Kiran (Dimple Kapadia).

Prahaar is a schizophrenic film. The only until now directing the first-class actor Nana Patekar has to offer much to commend, but gets tangled up in his unfocused narrative structure and its half-baked subplots. Only one comes out unscathed from the film: Nana himself not as a director, but as an actor, because it gives the title role with stoic strength and impressive charisma.. He is the one who keeps the otherwise so lottrigen film together and makes it worth seeing.

Unfortunately, this is less true for the rest of the approximately one hour continuous initial phase is a test of patience. Except Peter we learn no soldiers know right, they only serve as a training ground. Thus their exercises are not half as exciting as this is Patekar probably imagines. On the contrary, staged at a glacial pace training exercises are extremely predictable, they lack dynamic and cinematic effect. Rather drags us Patekar from one exercise to the next without really know what to say. This is neither criticism nor Army Army propaganda but just Army presentation. But there's lectures.

Only after this bleak prelude you realize slowly that it was not about the army. Rather, we want to put your heart, that we should have the courage and the decency of a soldier in civilian life Patekar. So the film pivots in a B-moderate vigilante Reisser of considerable violence. Politicians are chalked that police despised and criticized the cowardly population. All this certainly has its smart side, but in the indecisive staging this goes under. To make things even more mixed Patekar interspersed flashbacks to a childhood Chavan, which should make it clear that in his youth there was injustice. That should explain his actions, but looks a bit plump. Similarly, the interweaving of Madhuri Dixit. Their role is small and they disappeared into thin air from the movie without even having to get a really great scene. Even Dimple Kapadia and get more.

So is "Prahaar" an ambitious but zerfahrenes project that wants everything at once and yet not achieved much. A thriller drama between social criticism, retaliation imagination and military machismo. Nana Patekar proves with the work that he always leaves a strong impression in front of the camera and behind the camera certainly would have had potential - but "Prahaar" remained despite success at the box office its only directorial effort. In memory should remain primarily the end: As Nana runs with hundreds of naked boys on a field. What certainly is to stand as a symbol of the innocence of children and for a new beginning, seems somehow strange.

Manikam (Jeevan) is a young bum, her parents drove from home. He went and with his uncle in Madras. From the top of the building it surprises the antics of a couple in a nearby park (Malavika and Abbas). Discovering that this wealthy industrialists married their separate ways, he films them in action and blackmailed. Instead of asking a simple ransom, he condemns them to meet life's needs. They run in terror at the thought of being discovered. One day his fancy took him to Australia, where he falls in love with Rosie and discovers that there is something in life that Money. On his return he tries to line up, but at the same time the couple decides to take revenge and sends the police.

Thiruttu payale is a noir film, in a critical rule of money power in society. Whether among the affluent, rotten and decadent, or in smaller environments where it is the only way to survive, all the characters in the film are corrupted by the race for money.

The main character is an antihero . It was a promising student who saw his future ruined by the bad influences of his own family. It is brilliantly played by Jeevan, who is back after his role as villain in Kaaka Kaaka where it already bursting the screen. Here it is excellent, always charismatic and disturbing, but at the same time human and endearing. The role seems tailor made ​​for him. Malavika and Abbas, the adulterous couple are equally compelling. Finally, especially since Abbas Malavika actually tons, as always.

The main interest of the film lies in its main character, the typical tragic fate of black films, really well written and brilliantly performed. The film would have been good if it had stuck, unfortunately the director has tried to make a masala film. So the story is completely diluted in scenes from comedies unrelated, very average songs and scenes of brawls spectacularly useless.

Overall the film remains ambitious and original, well above and much darker than average, but leaves a small disappointment. This is the kind of film that could be so much better if he had the guts to get out of commercial shackles, he would almost want to become a film editor to remove these unwanted scenes. Released in conjunction with major productions Commercial ( Aadhi , Tirupathi ) thiruttu payale was rather well received by the public, remaining on view long enough to become a nice surprise hit in early 2006.

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