Dum Maaro Dum

What's comes to your mind when you think of Goa? Beaches, parties, hangovers.. Dumb Maaro Dumb starts with a hint of of all that and more – raves, drugs, sex and all that is associated with the mafia in the Goan region. The movie turns into a tale of bad-cop-turned-good; who is stubborn over uprooting the drugs-industry from the whole of Goa.

ACP Vishnu Kamath played by Abhishek Bachchan, lost his family in an accident; a car accident which was a result of a driver's drug abuse. This transforms his life and he sets out to transform Goa – his road to redemption. His biggest target is Lorsa Biscuta (Aditya Pancholi), who is the main connect to the foreign mafias, suppliers and the rave parties.

Meanwhile Lorry (Prateik) is a minor who is lured into carrying drugs to the US as his fees to a certain university is paid in return, gets caught by the police. This is when Joki (Rana Daggubati) takes centrestage, in order to save the innocent lad, and in turn deliver, what he couldn't to save hi ex-girlfriend Zoey (Bipasha Basu) from entering the illegal world. Thus the two men in redemption work together for the clean-up. And need I mention, truism in a suspense-thriller is not a great news!

Rohan Sippy does a fine job as a director, and sticks to his style as in Bluffmaster. But clearly the story of Dumb Maaro Dumb has nothing new to offer – owing to the mega 80s and 90s where a single cop was enough to ask for a super-hero. The difference lies in the theme, where drugs, raves and trance surface up. A bit more research in this field and proper exploitation of trance could have been something fresh; and also justified the use of the song(and title!) Dumb Maaro Dumb. Where Hare Rama Hare Krishna was a depiction of the Hippie culture of the 1970s, this movie tries to relate to the modern Trance era, but in the end is another cop story. Even Deepika Padukone's sensuous attempt falls flat in the Munni-Sheila-era. But the good direction, as it stays, was beautifully covered by the camera personnel. The colors used are perfect keeping in my mind the story and.. well, Goa! The movie does not rely on powerful duologue's alone, as has been the trend recently. Instead, intense scenes and heavy action are the dominant part.

The idea of "universal approach" given by Rohan Sippy is not totally baseless, but his claims – "Drug consumption is shown in films only when it is crucial for a script" should be hint of pure Indian-cinema-ness of the script, and the lack of naturality and adventure as much as the original is evident. But I'll accept, the movie is more about Dumb(power & action) than Dumb(drug injection)

The music used in this movie is highly ordinary not at all pertaining to the genre and theme(the expected one of course!) of this film. Having a musician(Joki) in the movie is an advantage though, and the song Ti Amo catches on a few lips as people exit the theaters. Sunidhi Chauhan's experiments and the 'potty' lyrics fail to pull off, being the worst expected in a Rave party!

by saying this i am referring to the critics or the so called TV anchors who receive money for giving the so called stars to the movie... I think they need to change their outlook and take movie or look at it from more public point of view.. Even when i entered the hall i had little expectations, but came out with a smiling face.. the movie is so well crated and so stylishly made that it just takes the breath away.. each and every shot of the film is made with so much to look into it so that u have to look 10 times to get the whole beauty.. abhishek as usual is flawless,rana is impressive so is prateek,while bipasha making her own statement.. the thriller,action,suspense and just everything keeps u jammed to your seat till last.. Sound track is just brilliant and the movie touches you at many instances.. its a must watch.. and surely the movie is not for the duds,who don't like stylish and like family movies.. And uncles...please grow up to the generation

Item girls are back with a vengeance given the much talked about Sheila Ki Jawani with the midriff baring Katrina Kaif in Farah Khan's Tees Maar Khan, that fast forward till today the buzz baton was ringing very loudly for Deepika Padukone in her item for Dumb Maaro Dumb. But personally I still preferred Sheila for the music, the narrative flow in which it was picturized on, and of course the dance performance. In Mit Jaaye Gum (Dumb Maaro Dumb), Padukone got decked with a shorter dress number sporting a mean looking cobra tattoo, but I don't have a thing for the drugged out look, given this was solely a song and dance number performed at a rave party before Abhishek Bachchan's ACP Vishnu Kamath came gatecrashing with the cops in tow.

Dumb Maaro Dumb provided what I would deem as a lift from the rather lacklustre lineup of Bollywood films released so far in this year, with the story keeping it fairly simple, yet intriguing with a mystery, with a great ensemble of actors fleshing out their carefully crafted characters. It's a basic cops and robbers tale on the war on drugs in Goa where the stakes are high on either side of the law with matters and issues hovering around the grey, never outright black or white. Cops are on the take, gangsters can turn informers, and you're never too sure just who you can trust, and who will switch allegiance.

Which makes the film thoroughly engaging to follow, paced fairly quickly and clocking just over two hours. The first half of the film before the interval allowed director Rohan Sippy to dabble with a non linear narrative structure to introduce the lead characters, starting with Lorry (Prateik, last seen in Mumbai Diaries), a student at the crossroads of his educational path, being stopped short at clinching a scholarship, and therefore unable to follow his girlfriend to the USA for further studies. Money woes meant subjecting himself to influences from a friend who had persuaded him fast cash from being a drug mule. Then there's the story of ACP Kamath, a once corrupt cop on the take who had now turned his life around given the death of his family, and going all out to take the war on drugs by the horns. The romantic story arc of DJ Joki (Rana Daggubati) and Zoe (Bipasha Basu) has the lovebirds being impacted through the drug trade, with the former being a easy-going, laid back bystander to his girlfriend's woes, with the latter being really hard up to be an air-stewardess, and got sucked into a road of no turning back when short term gains were traded for longer term loyalties.

In some ways this is like Brian De Palma's The Untouchables, where Elliot Ness gathers a few good, uncorrupted man to form a core team to challenge the biggest gangster in town, and here, ACP Kamath does just that when he goes up against Lorsa Biscuta (Aditya Pancholi), a well connected and well oiled businessman who dabbles in the drug trade and is one of the biggest in Goa, carved out into various territories as controlled by various foreign enclaves operating the drug business. With ACP Kamath turning the heat on their operations, Biscuita becomes the guarantor of every drug baron's illegitimate business with the involvement of an enigmatic Michael Babbossa, who becomes the primary mystery man that ACP Kamath and team are trying to unravel.

So begins a cat and mouse game after the interval, where all story arcs merge into a single thread but between the two halves, the first was more of Sippy's playground with tremendous use of seamless and slick editing techniques and transitions. And something that I've always enjoyed watching is the extended single take of an action scene, which Dumb Maaro Dumb now has bragging rights to, involving a very fluid camera following ACP Kamath and team as they go on a drug bust in a building, continuously weaving into and out of corridors and doors, windows and down a drain pipe even in one long extended take. I'm always in awe given the sheer amount of planning that goes behind the scene to have this achieved, and it is nothing short of fascinating always.

The violence is strong as well with ACP Kamath and the villains all dishing out punishment in no holds barred style, whether using a weapon or through their bare fists. And again there will be the usual police tricks and unorthodox techniques used by the no nonsense ACP that may raise some questions, even though he's given the mandate by the chief minister to eradicate the drug problem. It's been some time since Abhishek Bachchan had headlined a box office success, and I'm backing this film to be that shot in the arm for him as he reunites with director Rohan Sippy (since Bluffmaster). Rana Daggubati also shone especially in the second half of the film where his role got expanded and turned meatier, but unfortunately for Prateik he had opened the film, but because of the narrative had to disappear for the most parts in the second half.

Still, this is one of the more satisfying Hindi films that I've seen in recent weeks, with a strong story by Shridhar Raghavan (dialogues by Purva Naresh) coupled with strong performances from the ensemble cast that makes you feel for the characters and their predicaments. Music by Pritam stand out excellently, and if you're in need of a good old fashioned cops and robbers thriller with a mix of interesting cinematography techniques employed, then Dumb Maaro Dumb will be your film of choice this week. Highly recommended as it goes into my shortlist as some of the best of this year!

This movie is an informal lesson for the aspirants to become a film director in future. Cinema is said to be the art of storytelling. But I assert that it is 'the art to make believe', i.e., the art of making the viewers believe whatever is shown on the screen and letting it go down their throats even when it is not real. Dumb Maaro Dumb may be quoted as a classic example of it in the times to come.

During the seventies, Salim-Jaaved used to write the scripts of crime-thrillers which were actually the stories of cat and mouse game between the police and the criminals. They were skilled in drafting such spellbinding screenplays (according to the standards of that period) full of blows and retaliations between the two rival sides, thrillng action, witty dialogues and some doz of emotions and romance just equal to the quantum of salt in the recipe of the pulse being cooked and they were paced so fast that the viewer hardly got any time to think anything about the characters or the story, who was made to watch the movie without a blink and holding his breath. Salim-Jaaved wrote the stories of the movies of Ramesh Sippy too during that period whose son, Rohan Sippy has come up with this movie and this movie falls under the same genre of movies, a mesmerizing thriller with an element of suspense too. And it is the screenplay of this movie which makes it a winner all the way through the duration of around 130 minutes. Such type of movies made Amitabh Bachchan a superstar during the seventies and perhaps, it's the turn of his son, Abhishek.

Dumb Maaro Dumb, as the name suggests, deals with the illegal business of narcotic drugs with the backdrop of Goa. In between the investigating adventures of the supercop, Abhishek Bachchan; a name is tossed as the main criminal behind all this illegal trade but who is this person, remains a suspense till the climax and myself (being proud of my success in guessing the real culprit most of the times whenever I watch or read a mystery) could not identify him till the storyteller himself revealed the suspense. And that's a great achievement of the narrator, I must admit.

The screenplay itself is the hero which rules over all the characters including the investigating cop, Abishek Bachchan. The pace of the narrative is fast enough to keep the viewers glued to the screen and not missing a single moment of the movie. For thriller-fans it's a very big treat indeed.

Technically the movie is good and the cinematographer has done a praiseworthy job in not only capturing the beauty of Goa but also moving his camera quite skillfully amidst light, semi-dark and dark sequences. The action scenes are well-picturized and the dialogues are also quite impressive. The production value aspect is also up to the mark. Length of the movie could be trimmed by a few minutes in the second half but still the overall length of the movie is quite OK. The first half is more engrossing than the second one though the suspense factor deepens in the second half only.

Music is quite in line with the mood of the movie and according to the scenes running on the screen alongwith the background score. However had Rohan Sippy managed a fresh song instead of the remix of the old hit - Dumb Maaro Dumb from the movie Hare Rama Hare Krishna (1971), it would have been better on his part because neither the remix version nor Deepika Padukone is any match for the original track in Asha's voice or Zeenat Aman for the on-screen performance. Despite being the title track, it is the most unimpressive one (both the song as well as the scene) in the movie.

Rohan Sippy has extracted highly satisfactory performances from most of the performers. I count Abhishek Bachchan's performance as one among his five best performances till date. All others also fit the bill and almost every principle characters is able to maintain his / her identity in the movie for which the writers and the director deserve a pat. Rana Duggupati and Prateek Babbar stand out among others. The movie stars two of my most favourite actresses - Bipasha Basu and Vidya Balan (she impresses in a cameo too), however the movie mainly belongs to the male cast.

I am writing this review after returning from the theatre with my wife who watches a movie with me in theatre once in a blue moon only. Despite not very fond of thrillers or mysteries, she liked the movie very well. The movie proved so engrossing for her that she did not talk much to me during the watch which is unusual for her.

It's not a classic movie but a very very entertaining thriller. I don't know whether such type of activities and such type of scenario prevail in Goa or not (where I visited on the Christmas of 2009) but Rohan Sippy has been able to make me believe whatever he has portrayed in Dumb Maaro Dumb.

"DMD" presents the other side of GOA and in what a way...Simply stylish with all the glitz in place.The plot of the movie is ACP Vishnu Kamat(Abhishek Bachchan) is assigned a task by the GOA CM to clean up GOA coz Drugs is the reason for all the illegal things in GOA(Mafia,Rave's ...etc).Vishnu on the other side has his own demons to deal with.With his choice of lieutenant's Vishnu goes on a spree to Clean up GOA and free the place from the menace and the ball starts rolling. The first half presents the sketches of all the characters.Lorry(Pratiek Babbar) is shown as a student who gets in the drama for his love and professional life. And Joki(Rana) who has some Unfinished business with Lorsa Biscuta(Aditya) gets involved because of his love for Zoe(Bipasha).The 3 crosspaths at GOA Airport where Lorry is caught for possession of Drugs.Joki tries to convince Kamath of Lorry's innocence and helps him just to prove Lorry's is a small fish in the pond.

The second half has Kamath looking out for Michael Barbosa.The second half is where the Movie falters from being a good one to just finishing Above Average.The pace just dips a tad due to unnecessary addition of some shall i say...Foolish scenes.It all boils down to finding out the Saviour of Mafia's >Micheal Barbosa in the end and the outcome is not convincing after building up intensity which just dosen't Blow-Off.

The background score of the movie is set according to the feel of GOA which is catchy.

Abhishek Bachchan in top form(after a long time) playing ACP Vishnu Kamath and plays the character with utmost ease which only he can do.Aditya Pancholi as Lorsa is the perfect Baddie.Pratiek,Bipasha and Rana do fairly decent job,but Abhishek Bachchan Steals the Show in this one.

Watch DMD for 3 reasons: 1.A good flick after a long time 2.Entertaining COP-Mafia Thriller. 3.Abhishek Bachchan(who's in TOP Form..).