Love U Mr. Kalakaar! 2011 Hindi Movie Review

Banner:    Rajshri Productions
Cast:    Tusshar Kapoor, Amrita Rao, Ram Kapoor, Madhoo, Prem Chopra, Kiran Kumar, Yateen Kayekar, Jai Kalra, Kunal Kumar, Prashant Ranyal and Snigdha Akolkar.
Direction:    S Manasvi.
Production:    Kamal Kumar Barjatya, Rajkumar Barjatya, Ajit Kumar Barjatya
Music:    Sandesh Shandilya

There aren't many expectations that you carry from 'Love U... Mr. Kalakaar!'. Moreover the film's promos haven't quite done the trick due to their lukewarm nature and the overall buzz has been low as well. This is the reason why when the opening credits of the film star rolling, you merely allow yourselves to go with the flow rather than carrying any high hopes of superb entertainment. The eventual result is on the same lines as well.

Tusshar Kapoor is what a quintessential Barjatya hero stands for. He is gentle, sober, a little shy and a simpleton at heart. So much so that when he realises that he is in love with a girl (Amrita Rao), his first line of proposal is to get married pronto because he doesn't quite know 'what happens between falling in love and getting married'. The love of his life too follows the Barjatya template to the T.

When the two meet, they are ready to live life with each other despite the 'Pyaar Jhukata Nahi' kind of a situation that they face. The boy doesn't know what his tomorrow would look like while the girl is the scion of an industrialist (Ram Kapoor) who asks his future son-in-law about his tax details before his name.

Fair point actually since one can't discount the fact that a boy has to be self sufficient before he decided to tie the knot. The hitch he is that he wants to build a future in the world of art while for the man out there, it is the facts, figures, profit and loss that form a part of daily conversation. How the gap is bridged between the two men even as the girl stands up for her 'kalakaar' is what forms the crux of the film.

With the world moving on, such point of conflict isn't what can really be expected to excite audience. What also takes away the sheen from the film is its excessive length. The second half of the film goes on and on with just no end in sight. At least on a couple of points one feels that the film is approaching it's end but that just doesn't happen. Instead a new episode begins that makes one a tad impatient. In fact one of the sub plots of the film that involves another young man vying for Amrita's attention seems totally unwarranted. It just adds to the length of the film.

A special mention has to be made about the dialogues of the film. They belong to the world that has been long left behind due to which it all seems like a 70s romantic drama. It is surprising that they were approved in the first place. The music too is lukewarm and one misses the presence of that one chartbuster that could have made the difference.

Thankfully, what allows the film to be a decent watch at least is the sincere act by the lead pair of Tusshar and Amrita. Tusshar, who has shown his range in films as diverse as ‘Golmaal’ and ‘Shor In The City’ in recent times is quite comfortable with the romantic genre as well. On the other hand it is good to see Amrita after a hiatus. Not just she looks beautiful and the same as she did around a decade ago in 'Ishq Vishk', she is also plain natural. Wish one could see more of her.

There are moments in the film where you do feel engaged. However at most instances the film follows the predictable route, hence making you a little restless in the process. Also, once the end credits start rolling, there isn't much that remains with you that could tug your heart for long. An okay watch.

Ragini MMS 2011 Hindi Movie Review

Banner:    Balaji Telefilms Ltd
Cast:    Raj Kumar Yadav, Kainaz Motivala
Direction:    Pawan Kripalani
Production:    Ekta Kapoor

If a couple of kissing sequences coupled with a good looking girl strutting around in shorts excites the voyeur in you, then 'Ragini MMS' may just fit the bill. However if you are hunting for some 'real stuff' that a MMS is typically made of along with some shockingly scary moments then well, 'Ragini MMS' doesn't quite go the whole hog.

For a young couple, a run down bungalow in a Godforsaken place is a weekend hangout for an extended scene of 'action'. While for the girl (Kainaz Motivala) it is sheer love (with a dose of lust), for the boy (Raj Kumar Yadav), it is neither love nor lust but sheer business as he intends to cut a video of his act and sell it in the porn market. However weird things start happening to them with a spirit lurking in the background that results in terrifying times for the couple.

Viraan jungle, ek tooti haveli aur usme ek bhatakti aatma - the ingredients are the kind that are pretty much seeing an expiry date even on television. In such a scenario that one factor that works most for 'Ragini MMS' is technology. Not just it intrigues the audience due to its different texture; it also makes for an interesting movie watching experience as over 80% of the film is shot with static cameras. So instead, one gets to see standard shots that are taken by half a dozen cameras placed in different parts of the bungalow.

This innovation extends to the scenes, dialogues and acts as well since there isn't anything filmy about the entire affair. Both Kainaz as well as Raj Kumar are plain natural and completely uninhibited which makes one truly feel that they are not acting and merely happening to be in front of a camera that is capturing them in their moments. Moreover, due to this being a 'real affair', most of Raj Kumar's dialogues are expletives filled with no beeps whatsoever.

Yes, there are a few moments of genuine 'edge of the seat drama', especially the ones when the spirit starts attacking Raj Kumar and scares the daylight out of him. However the scare and the haunt factor doesn't quite go the whole hog. Also, it only starts becoming routine with entire chain of events leading to Kainaz's attempt at escaping becoming repetitive.

While one is still fine with letting go off the motive behind all the killings (since Ragini MMS was never meant to be a structured story and was always supposed to tell a tale as captured on camera), the climax seems abrupt and doesn't make any explanations either.

If one goes by what unfolds on screen, the film is very high on concept, technology as well as execution. However if only the written material would have been more convincing with the culmination being batter, 'Ragini MMS' may just have managed to become Bollywood's own 'Paranormal Activity'. As it turns out, the film is a reasonably engaging affair. However as the end credits start rolling, one does tend to exclaim that it could have been a lot better.

Shagird 2011 Hindi Movie Review

Cast:    Nana Patekar, Anurag Kashyap, Mohit Alawat
Direction:    Tigmanshu Dhulia
Production:    Asif Shaikh

There is something about a Nana Patekar cop drama that makes one look forward to it despite the time lag that may have set in. 'Shagird', despite it's near to nil publicity and zilch hype, is one such affair that one wants to watch. Thankfully, the wait is worth it as 'Shagird' turns out to be a gripping unpredictable entertainer that keeps you hooked to the proceedings for it's two hour duration.

As a Senior Officer in the Crime Branch, Nana Patekar is an epitome of a corrupt officer. He loots the rich and fills his coffers while also sharing the booty with his staff. Comfortable as being a part of the system, he is hand in glove with politicians (Zakir Hussain), goons (Anurag Kashyap) as well as officers higher up and also imparts the same training to his 'shagird', the new recruit (Mohit Ahlawat). A trigger happy cop who wants to finally leave this rut and move to New Zealand with his family forever, he devises a master plan. But then is he actually the one who is playing the game or he is the one who is being played?

This isn't the first movie about cop-politician-mafia nexus that has been made and would certainly not be the last. However while one did suspect if this would be turn out to be 'Ab Tak Chappan 2' or perhaps a rehash of any other Ram Gopal Varma gangster affair, 'Shagird' ends up surprising audience, courtesy Tigmanshu Dhulia who brings newness to the proceedings.

A songless affair, 'Shagird' also works due to it's unpredictable twists and turns. Also, quite a few scenes stand out to leave a very good impression. The hotel scene where Nana and Mohit interact for the first time, a couple of encounters that they are a part of, Nana's meeting with Zakir at his bungalow in both halves of the film (though with different intent), Anurag's release from Jail and then especially the last 20-25 minutes where you just can't point on where the proceedings would eventually head towards - 'Shagird' stays on to be a gripping affair.

Nana Patekar is terrific while an unpredictable conduct of Mohit brings spice in the proceedings. If Nana does what he has been doing quite well for decades now, Mohit too throws a pleasant surprises by playing a cop who can be a softie or a toughie on the demand of the situation. Zakir Hussain's characteristic mannerism is another strong reasons that keeps you glued to the screen. As for Anurag Kashyap, he is so loveable as a 'bhaiyya' goon that you want to see more of him. Rimi Sen is an integral part of the story, fits in well but doesn't get to play a regular heroine per se. Also, her feelings for Mohit aren't quite detailed well and seem a tad undercooked.

However the sole episode that stands out as a sore thumb is the one involving a kidnapping sequence and the scenes that subsequently revolve around it. They don't hold the kind of dramatic edge that the rest of the film boasts of. Moreover Nana's frequent references to old Hindi film songs not just become repetitive after a point in time but also irritating as it threatens to break the thrilling mood of the situation.

Leaving aside these minor hiccups, 'Shagird' stays on to be a winner with dialogues turning out to be a major USP of the film. They alternate from being acidic to humorous, hence bringing in a variety to the proceedings.

Post the success of 'masala' films like 'Dabangg' and 'Once Upon A Time In Mumbaai', one is back to being interested in seeing cop dramas on screen. Moreover, Nana Patekar is synonymous with films like 'Ab Tak Chappan' and before that 'Yashwant'. No wonder, you expect 'Shagird' to be better as it is helmed by Tigmanshu Dhulia (of 'Haasil' fame) who returns after a hiatus. Thankfully, the expectations are exceeded by this two hour affair that turns out to be a satiating affair.

Haunted 3D 2011 Hindi Movie Review

Banner:    Dar Motion Pictures, BVG Films
Cast:    Mahakshay, Chakraborty, Twinkle Bajpai, Achint Kaur, Arif Zakaria
Direction:    Vikram Bhatt
Production:    Vikram Bhatt

With the ground being set at the very beginning of 'Haunted', you find yourself on the edge of the seat within first 15 minutes itself as Vikram doesn't waste anytime whatsoever in establishing his characters and the plotline. With a gripping start that has regular elements like creaking doors, shrieking noises and those sudden scares in the night, 'Haunted' still continues to engage you because of Vikram's treatment.

It is a travel back in time for Mahakshay takes when he realises that the mansion for which he is trying to break a Rs. 200 crores deal is actually haunted by two spirits, one of which is that of a tormentor (Arif Zakaria) and other belonging to the tormented (Tia Bajpai). Hence the fight becomes different here as he doesn't have to fight off a 'bahatakti aatma'. Instead he has to save one 'aatma' from another, and that too by going back in the 1930s, something which is not just surreal (in true sense) but also seemingly impossible.

Also, though this is not a conventional love story in the making, you are still interested to know how it all unfolds as you join the journey of Mahakshay in his endeavour to save Tia. What accentuates this journey are the visuals that are vintage Vikram Bhatt.

The biggest USP of the film is 3D and it is well used with most of the scenes showcasing the kind of 'depth in frame' that one expects in a film with this technology. However how one wishes there were more 'jumping on you from screen' moments that would have made it all the more appealing. Moreover the climax could have been a tad better with more edge of the seat moments. In case of 'Haunted', after a terrific built up involving Achint Kaur (when she runs through the forest in the air after the lead pair), you would have expected the hunt for Arif to be a few notches up.

Also, one wishes music was used more effectively with the songs being longer than just playing for a few seconds in the background, hence also bringing on a relief element. Having said that, a small scene featuring Mahakshay and Tia where former shows her a cell phone (an unknown entity in the 1930s) and the latter is truly amazed, is done well, looks cute and brings in a smile especially in the time when the going is tough.

Mahakshay shows a vast improvement over his 'Jimmy' days and it is hard to believe that he is the same young man who seemed just so clueless in his debut effort. He makes his presence felt in 'Haunted' and though this film required him to keep a sad expression throughout, one waits to see how he does in his next outing that could require him to be 'full-on' hero. Tia is good in her debut and shows maturity as an actress. In this film she may not have presented as a true blue Bollywood heroine but given her looks, she can be expected to be noticed. Arif is as usual in his hamming while Achint as well as the man playing 'sufi baba' (Sanjay Sharma) are quite good.

As an overall package, 'Haunted' works as it is far better than many a horror films that have released between Vikram's own '1920' and now. Here the emphasis is on the thrill element and the storyline rather than set horror pieces here and there. Those who have loved Vikram's horror/dark films like 'Raaz', '1920' and even 'Kasoor' can well see his stamp in every shot of the film with everything from effective cinematography to 'just apt' background score coming together to make 'Haunted' turn out to be the kind of film that one always expected.
Go, give this one a chance as you munch your popcorn.

Luv Ka The End 2011 Hindi Movie Review

Banner:    Y-Films
Cast:    Shraddha Kapoor, Taaha Shah, Shenaz Treasuryvala, Jannat Zubair Rahmani
Direction:    Bumpy
Production:    Ashish Patil
Music:    Ram Sampat

Seriously, 'Luv Ka The End' could well have been relegated to MTV/Channel V short films segment as there is absolutely nothing that is a good enough reason for you to visit a theatre, spend helluva money on ticket/popcorn and then see a film which is small by all means, whether setting, idea or execution. One can sense that director Bumpy had to work in a restricted budget and that reflects in the overall narrative.

One can still live with a small setting if the film grips you enough. However this is something truly lacking in 'Luv Ka The End' as it doesn't even try to be imaginative and follows a route that is not just predictable but also unexciting.

Inspired by 'John Tucker Must Die', the film has a 18 year old girl (Shraddha Kapoor) taking revenge on her cheating boyfriend (Taaha Shah) by ganging up with her band of girls and a computer geek. The story is set in a night where the idea is to get even on Taaha by depriving him of four C's - Car, Cash, Charm and Chamchas.

Well, so far so very good as you do get an impression that there indeed would be some innovation in going through these chapters. You do empathise with Shraddha, the motive for revenge is well established as well, the song 'Tonight' continues to haunt you throughout and there is game set for 'love ka the end'!

However from this point on the key element - fun - starts fading away with every passing sequence. Girls spraying itching powder in Taaha's undergarments, ganging up to smash his car, depriving him of his credit card, spoiling his date with a hot friend, drugging him so that he loses his mind and lands in a downmarket bar and then hooking him up with a gay friend - it's all so conveniently done.

Worse, the song 'Mutton' which is seemingly placed as a last minute inclusion, is not just unnecessary but also repulsive. It's the climax though that takes the cake, a bitter one at that, with a live footage of Taaha trying to get even with Shraddha. Not just in bad taste, it is also incomprehensible and just not happening.

Eventually what still remains with you to some extent is the song 'Tonight', Shraddha's natural act and a perfect casting as a teenager, Taaha's charm that makes one believe that he has a lot better to offer and a few moments here and there that are reasonably enjoyable.

A film that wasn't too high on expectations please promised a lot more than what it actually delivers; this film directed by Bumpy is surprisingly low on entertainment quotient, something that is a basic requirement of a teen comedy. Juvenile and amateur - that's what 'Luv Ka The End' is for you.

Naughty @ 40 2011 Hindi Movie Review

Banner:    Sishty Creations, Promodome Films
Cast:    Govinda, Ayesha Takia Azmi, Anupam Kher Shakti Kapoor,
Direction:    Jagmohan Mundhra
Production:    Anuj Sharma, Sandiip Kapur
Music:    Monty Sharma

What is it all about?
B-town mass entertainer Govinda who once ruled the charts during the 90’s reminds us about his command over comic timings in this adult or say juvenile comedy.

Govinda with his ‘anubhav’ (read experience) this time plays a 40 year old horny yet nerdy virgin city goof in London who wants a girl in the film which turns out to be occasionally funny and delivers some belly laughs which no other actor would have been able to do in this Jagmohan Mundra’s mundane mix of Hollywood’s ‘The 40-year old Virgin starring Steve Carell and the forgotten Bollywood gem ‘Anubhav’ starring Shekher Suman and Padmini Kolhapure.

‘Naughty @ 40’ has plenty in common with Govinda, his mastered act and the so called Bollywood’s adult comedies. The only difference is here ‘Govinda plays a 40 year old virgin.

Well it hard to believe a guy at the age of 40 living in London where you have so many options available, is struggling to get laid… Still the movie has dopes of vintage Govinda fun for the hardcores.

The Story….. Of course
While watching one recollects Shekhar Suman’s fine comedy ‘Anubhav’ as ‘Naughty @ 40’ progresses. Govinda is 40 and still to get laid is living in London with his parents Anupam Kher, Smita Jaykar and cousin Harish. The father seeks the help of his employee Shakti Kapoor, who tries various tricks in the book so that Govinda loses his virginity, but all efforts turn futile.

The family leaves for Manali, where Govinda gets married to a girl much younger to him Yuvika Choudhary. However, Yuvika is up to childish pranks all the while, which results in Govinda getting into a physical relationship with a firang hottie. Yuvika transforms when she discovers the truth.

What to look out for?
Apart from Govinda, the movie has some crude, raunchy and funny sequences The famous condom scene from ‘Anubhav’ is repeated here too with some innovations and scenes like the massage parlour, Govinda’s drunken scene, his sleepwalking scene where he enters in the bed of someone are hilarious.

Yuvika does a fine job and is spontaneous, it’s difficult to match Govinda in his dance steps but the girl manages to impress.

Cinematography by Kabir Lal is eye pleasing other technical aspects are fair. Music by Monty Sharma is strictly passable.

Sanjay Mishra again steals the show whenever he comes and gets good smart ones from the writer. Anupam Kher, Shakti Kapoor Smita Jaykar HarishSayali Bhagat do the required needful.

What not?
There’s a difference between growing up and growing old. ‘Naughty @ 40’ though entertaining for the hardcore’s in patches suffers from the age old Bollywood disease. Originality is missing and even the inspiration lacks innovations. Director Director Jagmohan Mundhra who before giving us a serious instruction with ‘Bawandar’ was known for his soft porn flicks but strangely he ignores his own talent here which could have been used in a funny way…

Conclusion: Naughty @ 40 is Govinda’s show for the hardcore masses who love such fun. Go if you are a Govinda fan.

Shor In The City 2011 Hindi Movie Review

Film: Shor in the City

Starring: Tusshar KapoorPreeti DesaiAlok Chaturvedi,Sudhir Chowdhary,Pitabash Tripathy,Sendhil Ramamurthy,Nikhil Dwivedi,Radhika Apte,Girish Oak,Sundeep Kishan

Director: Raj Nidimoru,Krishna Dk

Producer: Ekta Kapoor,Shobha Kapoor

Banner: ALT Entertainment,Balaji Motion Pictures

Music: Sachin,Jigar,Harpreet


Story line:
Sendhil Ramamurthy (Abhay) is an interloper wants to set up a business in Mumbai without paying to local Mafia (Zakir Hussain). His track is zesty part of the movie. Tusshar Kapoor (Tilak) is a candid loafer swarms on the streets of Mumbai with his buddies Ramesh (Nikhil Dwivedi) and Mandook (Pitobash). The three clandestinely plan to ransack a local train, finally gets into troubled waters. Sawan (Sundeep Kishan) is one boy who has a dream of getting in to Mumbai junior cricket team and gets along in a way to find money. The entire thing in the story which connects them is “Money”.

Plus factor’s of the movie:
The film is a promising entertainer and at many occasions will make you chortle and bawl. Though “Shor In the City” has un eccentric story line, it doesn’t fall short to astound film goers.

The casts in the film like Radhika Apte, Preeti Desai, Girija, Tusshar, Sendhil, Nikhil, Pitobash and Sundeep, excel by playing their role luminously in the film. Amit Mistry acting adds another plus factor and noteworthy to the movie. Zakir Hussain played his part splendidly.

Screenplay of the movie is one plus factor and the makers managed to deliver it tightly. The climax of it is sure to bombshell you. Cinematography and dialogues is an added marvel to the movie.

Bad Blotch of the movie:
Though the film is perfect in every part, one thing that disheartens you is its pitiable music.

Sachin-Jigar, Harpeet failed to pulsate the audience with their music. But songs like 'Karma Is a Bitch’ and ‘Saibo’ definitely raise your adrenaline levels.

Universally:
Over all, the movie will sure grab the attention of viewers with mass elements like voyage, ecstasy and tragedy and will give you a satisfied feeling for your price.

Chalo Dilli 2011 Hindi Movie Review

Film: Chalo Dilli

Starring: Lara Dutta & Vinay Pathak

Director: Shashant Shah

Producer: Krishika Lulla,Lara Dutta,Mahesh Bhupathi

Banner: Big Daddy Productions,Eros International Media Ltd

Music: Gourov Dasgupta, Anand Raj Anad, Sachin Gupta


Chalo Dilli sees Lara Dutta and her husband Mahesh Bhupathi turning producers for the first time. Directed by Shashant Shah the film explores the journey that a rich lady goes through to go to Delhi before visiting the true colors of India. Vinay Pathak takes the mantle of dropping Lara in Delhi. The film’s genre is comedy drama.

In the film Lara plays the role of Mihika Mukherjee who is a senior vice president of a top multinational financial institution in Mumbai. A jet setter, no nonsense women, and she clearly knows on which side of the world she is on before dividing it into winners and losers.

In the film she is heading back home from Mumbai to Delhi to meet her banker husband who stays at Delhi. As Mihika misses the flight she then encounters Manu Gupta played by Vinay Pathak, a fat and noisy 'Ladies Cut-piece' merchant who owns a small 10 by 10 shop at Karol Bagh, Chandni Chowk Delhi.

Manu turns out to be exactly opposite to Mihika. He is showcased as a guy who speaks loud on a phone in theatre and spits Gutka on passageway. Though he is very smart, street smart at times it goes over board and as Mihika is struck with him by fate it goes bizarre and they had to face consequences.

As both are struck together to get back to Delhi what follows is a comedy of errors with full of adventures and crazy madness. After encountering what circumstances they reach Delhi follow the rest of the screenplay of the film.

As the film is road movie, the traveling that one goes through while watching it would be safe. The film which starts on a positive note with Manu striking the right chord with his wackiest and wittiest lines though loses its way in the middle comes back strongly towards the end. The director’s way of presenting humor relates to everyone as the funny moments in the film are very realistic and laughable unlike the other films that one went through the other week where the director tries hard to make the audiences laugh.

Although some characters that come into the film leave no positive impression it is the lead actors who’ll take the film till the climax. Exceptions like the ticket checker and the Bengali couple that Manu and Mihika encounter in the train, are at best drivable. Post train episode the film hardly has the same impact as the writing and direction are not handled very carefully.

The simple narration of the film takes you to the journey of Mihika and Manu and the bonding is evidently seen as bhaisaheb and behenji are clearly adorable in their respective characters. The title track should have been used more in the background as it leaves a positive impact while one watches the film. Though tracks don’t play an in integral part in the film, Laila O Laila and Matargashtiya' are laudable. In films of this genre the photography should hit the bull’s eye but at times it is not up to the mark.

On the whole it is Vinay Pathak who steals the show with his bindaaz and caring attitude. As a saree trader form Chandni Chowk he carries the film on his shoulders with able support from Lara Dutta. Dutta slightly out of action in some scenes makes up to it as the film progresses. As a jet setter, no nonsense women, Lara delivers her role with every conviction. It is the duo who are the saviors of this film, and add to its writing though it has it negative outcomes. As mentioned earlier Brijendra Kala, the ticket checker, leaves the utmost impact and so does the couple from bengal. A special mention should be made to the dialogues of the film as they suited the mood and given more scope for the lead to perform

Chalo Dilli is a fun and a time pass movie that one can be entertained this weekend. Watch out for the cameo of Akshay Kumar in the film.

I AM 2011 Hindi Movie Review

Film: I AM

Starring: Sanjay Suri, Radhika Apte, Shernaz Patel,Anurag Kashyap

Director: Onir

Producer: Onir and Sanjay Suri

Banner: Anticlock Films

Music: Amit Trivedi, Vivek Philip and Rajiv Bhalla



How and where does one begin to describe the infinite satisfaction of watching a film that emerges from the closet with some arresting and disturbing home-truths on what goes on when the lights are off? Tiptoeing through the darkest corridors of the human heart, director Onir in "I AM" comes up with four stories on the question of individual, sexual and geo-political identity.

There are no happy beginnings or endings for any of the four protagonists in "I AM". Each one creates a universe of sublime sorrow spearheaded by an inability to … well, fit in.

Squares among circles? So be it. Onir revels in creating damaged but empathetic worlds for his four heroes. No, these are super-heroes in their resilience and determination to tackle discrimination without succumbing to their internal injuries.

When Afia in the first story, played by the Nandita Das, asks her buddy Juhi Chawla if she'd lend her brother for some serious sperm banking, Juhi, who we get to know in the next story is Megha reclaiming her heritage in Jammu and Kashmir, walks away in disgust. We can't. We don't want to.

Artificial insemination gets a cinematic treatment in the story as Nandita meets her sperm donor (Purab Kohli in a timid mode). As they speak gently into the night, a warm fertile relationship grows between them in the fertility clinic. No they don't fall in love. Where is the space for that to creep in?

The punctuations in the first story are bolder, more aggressive than the other three, as though Onir wanted to get all the 'cinema' in his film out of the way as early as possible.

For the second story "I Am Megha", Onir takes his compelling drama of the damned to Jammu and Kashmir. The location is treacherously pretty. The dreaded M-word stalks the streets with unrelenting impunity. Here under the shadow of militancy, two dignified women, one a Kashmiri Pundit (Juhi) and the other a local Muslim (Manisha Koirala), interact with restrained annoyance. They are upset and angry. But they won't colour the ambience with their prejudices.

Thanks to Juhi and Manisha, who play out the Ingmar Bergmanesque drama in the deceptive tranquility of the valley, "I Am Megha" comes to life as a chamber-piece set in the outdoors.

The third story "I Am Abhimanyu" on child abuse is understandably a portrait of acute complexities brought to a virile fruition by the director's determined evasion of any self-pity in the abused child's character. Rather, Abhimanyu (Sanjay Suri) grows up as quite a manipulator, not sure of his sexual preferences but sure that he'd milk the ambivalence of his tortured past for all that it's worth.

Amazingly Onir goes through the three phases in Abhimanyu's life, as the abused child going on to a manipulative adolescent and thence to whining adulthood, in just about 15-20 minutes of playing-time. Portable epic, indeed!

This story also has the most intriguing array of actors, from Suri to Zain Salam as the adolescent Abhimanyu to Anurag Kashyap as the sexual molestor, to Shernaz Patel as the mother in denial and Radhika Apte as Suri's bohemian sounding-board who knows she may not be able to have sex with the man she so openly loves because of his tortured past.

The sexual candour of this episode makes for remarkable viewing. Onir desists from making any judgement on those who scar the wounded.

The rawest, most guttural and devastating story is saved for the last. "I Am Omar" is a story straight out of every gay person's favourite nightmare. While making out in a car with his newly-acquired partner Omar (Arjun Mathur), Jai (Rahul Bose) is accosted by a vulgar homophobic cop.

Abhimanyu Singh as the cop on the bawdy beat comes up with the most bludgeoning performance in the film. His filthy language and his even filthier intentions towards the cowering gay man are brought out by the actor with a ferocity and clarity that provide an entirely new definition to credible characterization.

This story is shot with the quivering conviction of a crime reporter with a video camera who has suddenly chanced on a scene of atrocity that far exceeds his call of duty. The enormity of the crime is represented in the beads of sweat that appear on the brow of the victim of the police atrocity. Rahul is full of righteous damnation.

"I Am" can happen to anyone who doesn't conform. The isolation of the unorthodox is palpable in every precious breath that the four-storeyed tale takes. The quartet of stories is backed by the most wonderful team of actors and technicians. These are not "happy" stories. How can they be when the people in them are so intrinsically unhappy?

The challenge for Onir is to make his tortured characters acclimatized to their pain and suffering without making them look like resigned victims.

Though all four stories are shot by one cameraman Arvind Kannabiran, each one conveys its own mood, texture and urgency. Though all are joined at the hip, each story has its own unique rhythm. There are no empty symbolic gestures of reconciliation in this world of disaffected derelicts.

Each protagonist carries his burden of guilty and grief to the last.

There is no getting away from the despair. But there is no sense of pessimism in the telling of the stories. That's the beauty of this little gem of a film. You get affected. But you don't lose hope. At the end of the tunnel there is a beam of light. You can't miss it.