3 Deewarein

This is a very different film from the usual bollywood love and action crap, it might take some influences from the Shawshank Redemption and other American prison films but overall it is a very original and fresh film. Naseeruddin Shah really shines and the ending is good. The film is basically about an amateur filmmaker (Juhi Chawla) that wants to make a documentary about 3 prisoners on death row. They are on death row for murder, accidental or premeditated. As the film progresses you learn more about each of the prisoners and how prison has affected their life. Overall it is a pretty damn enjoyable film, and it has NO SONGS

Definitely Nagesh Kukunoor's best effort to date.

Frankly i went in expecting another average fare from Nagesh, cos i havent liked his earlier films. I thought Hyderabad Blues was hugely hyped, not to mention shoddy. Rockford was a good idea gone horribly wrong and the only reason i sat through Bollywood calling was Om Puri (outstanding).

With this background i set out to catch 3 Deewarein. Actually the glowing reviews (which as an afterthought i think were completely justified)pushed me further towards the theatre. Not to mention Juhi Chawla who i have always believed is one of our most underrated actresses. And what an experience it was!

3 deewarein is a very good film. Why? Let me give you 2 reasons:

1. The script is near to brilliant. Though the narrative is slow paced, your interest never wanes. The story unfolds slow and leads to a mind-blowing climax. Least expected but a shocker of a climax. Like my buddy aptly described it - super wicked cool!

2. Performances, every actor is amazing. While its expected that Naseer will shine (he doesnt disappoint one bit!) its Jackie Shroff and Juhi Chawla who take you by surprise. Jackie is subdued and puts in a very restrained performance. Juhi Chawla is splendid. With minimal makeup and looking absolutely fresh, she puts in a career best effort here. Check her out in two scenes: The first when she gently threatens the hell out of her abusive husband and the other when she tells Ishaan (Naseer's character) that she may be in love with him. Kukunoor himself is a good actor, but he is a better director. Special mention to Bad man Gulshan Grover who puts in a good man performance here.

So if you are looking for a well directed film with a strong story and a couple of good performances, 3 deewarein is the one!

3 Walls: 7 out of 10: My first reaction was that Indian prisons are really nice. Honestly I went to a couple of sleep away camps in my youth and suffered more hardships than these prisoners. Sure the prison has sexual assault, loss of freedom and death but I am definitely sticking to my analogy.

This is my first real Bollywood film and since there are no musical numbers or dancing or romance I am under the impression that the film isn't typical. This is straight forward human drama with very good dialogue and a surprisingly twisted and adult story.

The film concerns three prisoners who are scheduled to hang. One is angry and proclaims his innocence, one refuses to accept guilt for his crime and the last is so racked with guilt he cannot wait for the noose to be drawn. Into their lives comes a female filmmaker with some baggage of her own.

The movie is about the four characters interactions and how justice is eventually done despite long odds and corruption. While you may have some Shawshank Redemption flashbacks during the film the movie really has its own story and feel. The acting is good across the board and the production values are excellent. This would be a well made film in any nation.

The first time i heard about the movie , my reaction was i have to see this one. coming from one of my favourite directors Nagesh Kukuonoor and performers like Naseereruddin Shah.

When i actually got down to see the movie , my feelings were mixed. The performances in the movie were just astounding , the direction was just superb ! but the only downer half way down the movie was i kept having deja vu of having watched the scenes in "Shawshank Redpemption" . The movie did not have the impact till it reached the climax scenes. It was then i realized that the movie was not at all what i expected it to be. And this my friends is a rare find in indian movies. I guess you all must agree with me on this particular point. After the climax was over all i could do was sit dumbfound. I was speechless. This movie that played before me was the best movie of this genre made by an indian in india. It was way better than shawshank redemption in many asepects. (although i am not her undermining the movie in any form , who can ever forget the narration by morgan freeman in that movie).

The direction needs applause by us all. The flashback type concept was great. The first scene when Chandrika (Juhi) meets the 3 convicts was unbelievable . (in the sense that this was actually directed by an indian director) . The contrast of the 3 characters that was potrayed by Nagesh in that scenario was overwhelming. The movie gives the viewer subtle hints throughtout which one realises once the climax scene was over. The best part of the movie was that each one of the dialogue was well built in to the plot of the movie. Starting from the "Aapko pehle kabhi dekha hai" to every other statment.

I think i do not need to comment on performance by Nasseeruddin Shah. He is just amazing. One of the best actors the Indian cinema has seen ever. He is complemented perfectly by Juhi, Nagesh , Gulshan and Jackie. The serious role of Jackie was just too good and he stood up to the role beautifully. Nagesh also played his character true to life.

In all , i would sign off by saying, that if you are one of the people who appreciate movies like shawshank redemption , fight club, memento then DO NOT MISS ON THIS ONE. I would rate the movie better than the afore mentioned 3 movies, and to be honest i loved them all. But if you are the kind who likes masala movies and do not want to appreciate the direction of the movie then this one is not for you.

Exciting things are afoot in Indian cinema: a new cadre of filmmakers has appeared over the past ten years and is using the cinematic medium in fresh, innovative ways for a specific urban audience. Even the language they use is new: big cities like Bombay, Calcutta, Bangalore, and Madras have always displayed a propensity for English, albeit an English infiltrated by peculiarly Indian locutions and idioms. Urban folk switch back and forth between Indian English and the vernacular depending on the situation and conversation partner. A curious linguistic hybrid has sprung up: Hinglish-a blend of English and Hindi-and the new breed of filmmakers allows their characters to speak in this energetic, all-embracing patois to grant them greater relevance and immediacy for the urban Indian viewer. Films like `English August', `Bombay Boys', `Split Wide Open' may not have been outstanding films, but they broke new ground in terms of subject, approach, and characterization; they unapologetically reflected the metropolitan mind-set and made no attempt to be all things to all people, for they probably would never play in small towns or villages. However, international audiences would relate to these films for they described life in the big city, and city dwellers, regardless of geography, share a complicity with other city dwellers. Thus these films have become staples of the international film festival circuit.

Nagesh Kukunoor belongs to this class of filmmaker and made his debut with `Hyderabad Blues', followed it up with `Bollywood Calling' and `Rockford', and now has presented us with `Teen Deewarein' (Three Walls). I have not seen the films that preceded `Teen Deewarein', but if this effort is anything to go by, Mr. Kukunoor is well on his way to becoming one of the new auteurs of Indian cinema. He has written, produced, directed, and if this were not enough, cast himself in one of the lead roles in `Teen Deewarein'! Naseeruddin Shah, Jackie Shroff, and Juhi Chawla--the headliners--are well-known names in Indian cinema; what's new, however, is that Jackie and Juhi have never before attempted cinema of this sort. For years, Jackie was a stalwart leading man of Hindi films, singing, fighting, and romancing his way through several identical, lucrative, yet undistinguished potboilers. Likewise, Juhi has been a capable, if standard, leading lady: glamorous, competent, but never truly challenged by her roles. Also, she was made to simper and giggle in far too many films for my liking. Naseeruddin Shah, however, has made a career of doing daring and different roles; he switches back and forth, seemingly without effort, between lead and character roles, and has frequently appeared in experimental films. He had great fun as the boorish, scary underworld don who turns filmmaker in `Bombay Boys', and just as easily, was the emotional core and the conscience of Mira Nair's `Monsoon Wedding'.

Ishaan (Naseeruddin Shah), Jaggu (Jackie Shroff), and Nagya (Nagesh Kukunoor) are a prison's three inmates on death row. Gulshan Grover is the humane warden attempting reform of the archaic penitentiary system, while Juhi plays Chandrika, a filmmaker making a documentary on death-row prisoners. The three men are each accused of killing a woman: Jaggu is alleged to have stabbed to death his adulterous spouse, Nagya is accused of pushing his wife under an oncoming truck, while Ishaan has accidentally shot a pregnant teller in a botched bank robbery. The three men cannot be more different in character and in their responses to the death sentence. Jaggu, overcome by remorse, wishes to embrace death in atonement for a crime against society. Nagya stoutly denies having pushed his wife and steadfastly believes that truth will prevail, despite the fact that the execution date looms closer with every passing day. Ishaan, the only career criminal of the three, maintains a cheerful outlook and prepares to break out of prison because he doesn't believe he should be put to death for an accidental killing. Chandrika manages to get permission to interview and film the three men, and as time progresses, gains their trust. We see how each of these characters is a prisoner--the three men are literally behind bars, while the filmmaker is trapped in a horrible marriage. Once these four characters come together, we get uncontrived ruminations on life, death, love, and relationships. Juhi switches her camera on and unobtrusively elicits her subjects' life stories and philosophies. The men respond to her gentle approach and open up gradually and pour out their hearts to her non-judgmental camera.

Despite the fact that the prison warden has put many reforms into place, it is still a prison, and we see the dehumanizing effects of incarceration. As always, the strong pick on the weak, and predators have their choice of prey, for there is nowhere to run. A homosexual rape takes place, but the HIV-positive rapist gets off with a beating; his brother is a member of the state legislative assembly and his clout extends to the prison system. As the days go by, the documentarian finds her objectivity getting compromised. Through her, we get to know the men, and find it impossible to impersonally look at them as prisoners who are about to get what they deserve.

Outstandingly well-written in a seamless mix of English, Hindi, and Hyderabadi dialect, the film is equal parts polemic against the death penalty, human interest story, and quite unexpectedly, suspense thriller. It is photographed in a gritty unglamorous manner, probably on digital video, with much steadicam use, so that we walk beside the prisoners and feel their claustrophobia and despondency. The leads, blessed with a literate, intelligent script, offer up detailed character studies. Naseeruddin Shah, like the great Charlotte Rampling, merits the prefix `the always amazing'. His Ishaan is a complex, paradoxical creature-shot through with a rumpled charm, he is a self-serving grifter and an ace at camouflaging his true emotions, but there is unpredictable decency, as well. The surprises, for me, were Jackie Shroff and Juhi Chawla, who, happily, have strayed far from the safe and known domain of conventional commercial Hindi cinema. Jackie turns in a finely nuanced performance of a man who regrets having committed a crime of passion. As a successful lawyer, Jaggu is the most educated of the three and late at night, he ruefully composes melancholy poetry to soothe his troubled soul. Juhi Chawla is a revelation. Gone are the juvenile giggles and irritating mannerisms; with this role, Juhi has stepped into glorious maturity and tackles a role fraught with adult problems and issues. Perhaps realizing her lot is not much different from the prisoners, her face registers outrage at their plight and the corruption-filled higher echelons of the system. Chandrika convincingly makes the transition from impartial spectator and archivist to outspoken activist. Her new political awareness empowers her to stand up to her abusive husband; in fact, the confrontation scene is a highlight of the film.

Nagesh Kukunoor deserves a paragraph of his own. This over-achieving, hardworking young man has conceived of a most novel story, produced with great flair, and directed with enormous sensitivity and cunning a film that will be remembered for a long time. He had the good sense to populate his film with outstanding actors, and it is here, unfortunately, that his shortcomings as a performer surface. Had there been merely mediocre actors around him, Nagesh Kukunoor would probably have shone. However, in the august company of Naseeruddin Shah, Jackie Shroff, Juhi Chawla, and Gulshan Grover, he is shown to be the acting rookie that he is. This is a very minor quibble, for his acting is not bad at all. I just feel he had enough on his plate already, and should have cast another, more seasoned actor in the role of Nagya. It would have taken the film up another notch, but in the face of so much excellence, it is a very small cavil. `Teen Deewarein' is a most satisfying film experience.if only it had been accorded the good fortune of a big release that undeserving schlock like `Mein Prem Ki Deewani Hoon' received, it might have made the world's movie-going public sit up and take notice. If only, if only.