Director: Pawan Kaul
Producer: Nari Hira
Music: Pritam Chakraborty
Cast: Milind Soman, Dino Morea, Sheetal Menon, Simone Singh
Supermodel Antara Tyagi (Sheetal Menon, lots of lip gloss) is in the thick of fashion industry grime. Warding off `interested’ men at all corners, even sleeping with some, she meets charming, flirtatious Shaan (Dino Morea) whom she begins to like. The lovebirds are all set to make it serious when Antara’s introduction with Shaan’s older brother Devendra (Milind Soman), his only family, takes an unexpected twist. This meeting brings about an ugly childhood memory relating to Antara’s older sister Namrata. Antara accuses Devendra raping and killing her sister, and act she witnesses as a child. Of course the fact that Dev happens to be something of a scion whose mug appears in the papers all the time, and yet, Antara never recognised him, is a script folly. Initial shock later, Shaan sets into action to uncover whether this accusation is true or whether it’s Antara’s bhram.
Assuming this plot must have sounded reasonably bearable story on paper, the film fails in its execution and the bizarre final minutes of the film. The climax is convoluted, it’s the typical film ending where all the main characters are present and emotional dialogues are exchanged for the longest time. Here you also have thundering skies atop a Manali mountain, and the culprit Dev confessing he raped his own girlfriend (Namrata) when she resisted running away with him, which indirectly led to her death. `I loved her. Maine Aisa Kya Gunah Kiya Hai’?, he asks his dazed wife, bro and victim’s sis. Really, now!
Performance wise everybody is so-so; you’re neither impressed by anyone’s work, neither grudge them the screen presence. Sheetal Menon as the perennially high supermodel is an emotive actress, but suits this particular role well. The character writing is average, but Antara’s character has been fleshed out interestingly. She has many ranges – she’s the smoking, drinking, moody, even eccentric, supermodel who has it in her to sleep with multiple partners as well. Yet, she’s also the girl tenderly in love; and also the strong woman who wants to fight for her sister.
The technical aspect has been given importance here. The back-and-forth storytelling and novel transitions to the next shot are interesting. Also is refreshing, even if jarring, the unabashed abuse-laden lingo, the staple of young talk today, especially in the industry the film talks about. Songs are just about ok.
Assuming this plot must have sounded reasonably bearable story on paper, the film fails in its execution and the bizarre final minutes of the film. The climax is convoluted, it’s the typical film ending where all the main characters are present and emotional dialogues are exchanged for the longest time. Here you also have thundering skies atop a Manali mountain, and the culprit Dev confessing he raped his own girlfriend (Namrata) when she resisted running away with him, which indirectly led to her death. `I loved her. Maine Aisa Kya Gunah Kiya Hai’?, he asks his dazed wife, bro and victim’s sis. Really, now!
Performance wise everybody is so-so; you’re neither impressed by anyone’s work, neither grudge them the screen presence. Sheetal Menon as the perennially high supermodel is an emotive actress, but suits this particular role well. The character writing is average, but Antara’s character has been fleshed out interestingly. She has many ranges – she’s the smoking, drinking, moody, even eccentric, supermodel who has it in her to sleep with multiple partners as well. Yet, she’s also the girl tenderly in love; and also the strong woman who wants to fight for her sister.
The technical aspect has been given importance here. The back-and-forth storytelling and novel transitions to the next shot are interesting. Also is refreshing, even if jarring, the unabashed abuse-laden lingo, the staple of young talk today, especially in the industry the film talks about. Songs are just about ok.
