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Cast: Shahid Kapoor, Priyanka Chopra, Amol Gupte, Tenzing Nima, Chandan Roy Sanyal
Apart from above-mentioned biggies, Shahid has proved his mettle on several occasions, but unfortunately, the films didn’t turn out to be a major success. Amongst such films is Vishal Bhardwaj’s. Top 10 Robbery movies of Bollywood – Kick. 3.) Dhoom series: Be it John Abraham riding on his bike past the banks or Hrithik Roshan changing his disguises and escaping on roller skates or Aamir Khan with his twin- the series have everything for you. To add the hot women oomph – the dhoom girls were Esha Deol, Aishwarya Rai and Katrina Kaif. Hindi cinema has now well and truly discovered one more actor-star. It is difficult to make out which is more overpowering, his double act or the sheer screen-blazing star charisma.
Director : Vishal Bharadwaj
Rating: ****
Vishal Bharadwaj makes a first half that's so good that it's near flawless. Charlie lisps. Guddu stammers. To create identical twins with a distinctive speech impediment is a master-stroke. And to set them in a sea of dubious, dodgy characters, where they all have to swim or sink, has the audacious stamp of a director who's always gone where everyone else in Bollywood has feared to tread.
He gives the twins completely different, completely captivating identities. Charlie dreams of finding a 'fortkut' to fortune, while doing the dirty work for a betting syndicate. The earnest Guddu works, quite appropriately, with an NGO. The love of his life is Sweety ( Priyanka), who's done a little fiddle of her own to get close to the cute guy who stammers. The lead characters of a Hindi film who are not straight and narrow, and proud of it? You lick your chops, and settle down to the rest of the feast you hope will be as delicious.
And for a while, it is, as Bharadwaj goes about setting the scene. Other `kaminey' surface, one after the other. Tashi the gangster, with his cheroot and fancy yatch. A trio of Bengali brothers who fix races. Local hood Bhope Bhau, lover of Marathi `manoos', and hater of all the others who live in Mumbai. A couple of crooked cops fronting a huge drug deal. A guitar full of white powder worth crores. The seductive smell of illicit cash. The director picks up his mix, gives it a good shake, and lets his gang of grifters rock and roll. Till the interval, `Kaminey' is fabulous : dhan ta nan!
In the second half, almost imperceptibly, the film starts unraveling. The concertina effect of cutting swiftly from one set of situations to another which so keeps you riveted, loses steam. The fringe characters start demanding more, and the fulcrum of the film – the twins who love and hate each other in equal measure— recedes too far. There are moments when it looks as if things will come together again, but those keep getting further apart. And then the director succumbs to his fatal flaw of not managing a wrap—in the climax, as a Mumbai `basti' turns into the wild, wild West, the violence gets terribly operatic—the sky darkens, the gun-battle is choreographed to the last bullet-- and every single `kamina' shows up at the party. It all becomes too much noise, not enough traction.
... contd.
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