The_Cool_Critic

While IMDb movie ratings are typically on the spot, the rating for this film is one of those few instances where it is seriously off the mark. The movie deserves a definitely higher rating for it is one of those few movies that intelligently explore new terrain in a done to death genre in cinema -- which in this case is the investigative crime thriller.

The premise of the film centers around the murder of the scion of a wealthy family and the investigation that follows.Damien Bichir and Chino Darin are the two leads here involved in the investigation and their performances perfectly complement the zany screenplay and apt writing. Although it is understandable that the movie lacked the mega millions that bankroll a Hollywood studio production, the execution here in terms of acting, photography, writing and the soundtrack is as good as it gets. Also, props to the makers for a surprisingly accurate recreation of the 80s ambiance without getting kitschy or tacky. The story has plenty of interesting twists, and that along with the excellent chemistry shared by the two male leads makes this one a must watch.

For its unusual treatment and excellent production, this one gets an almost- perfect rating from me. Hopefully, we will see a sequel.

"Koi Tujh Sa Kahan" was Reema Khan's debut directorial venture, and for those uninitiated to Pakistan's cinema, she is one of the major actresses/model who works in the Lahore-based movie industry. The film is a notch above the average fare turned out by Lahore-based film makers, however there are too many distractions and below-par attributes of the film that attenuate what was potentially a strong plot.

The story revolves around a hotel-heiress (our director, Reema, in the title role) who gets married to an ordinary joe (Muamar Rana), the subsequent affair of the husband and a murder which transforms the movie from what is seemingly a sappy love story to a pseudo- thriller that is interrupted by many song and dance sequences, useless comedy and some very surreal characters (Nadeem as "Uncle Romeo" being one of them).

The story line is strong, but it's in the screen writing department that the film suffers the most. There was absolutely no need for constant interruptions by the asinine comic acts, and the kind of characters shaped by the script writers call their own sanity and intelligence in question. Nadeem as Uncle Romeo?!?! Give me a break! Everyone hams to the hilt -- it seems that the Lahore film industry feels that unless that characters go totally over the top, their message won't register with the audience. Veena Malik is very, very annoying. The songs come as distractions and do not take the plot forward, even though Amjad Bobby's score is decent. Camera work is shoddy, and typical Lahore-film industry style, the zoom lens is overused and is there in probably 70% of the frames of the movie. Speaks volumes about the lazy DoPs that Reema Khan employed.

There IS a twist in the movie that catches you by surprise and is the only redeeming quality of the film, along with the decent wardrobe choice and overall lack of tackiness that's generally associated with Lahore made movies. For that, and the pleasant wardrobe and some eye candy thrown throughout the film, it gets a 5 from me. That too because it is a debut effort from a lady not exactly known for her refinement or sophistication.

Wow. That is all I could say after sitting through this film. Das makes a scintillating debut as a director, and if 'Firaaq' is the type of cinema she will continue to make, then she has already won one devoted fan. Every shot of this film, every line of its dialogue screams of the directors' humane, socially conscious philosophy. She takes a very brave step in projecting the pain of the 'other' -- which in Firaaq's case is the socially backward Muslim population in India, which was the target of the 2002 Gujrat pogroms.

The film is basically a set of vignettes from a 24 hour period in the lives of the characters in the post-carnage period in Gujrat. There are the slum dwellers, an aging music teacher residing in a rundown locality, an orphaned child and to balance this set, an upper class businessman -- all from the Islamic faith. The episodes in the characters' lives are loosely interconnected and revolve around a slum dwelling couple going back to their burnt-down Muslim ghetto to reclaim their lives, the teacher coming to terms with the madness surrounding him, and the orphan finding, and eventually losing, a refuge.

This is not typical bollywood/escapist fare at all. For one, there are no songs and certainly no dancing, and no overt melodrama. Also, the film at many instances gets painfully real and makes for overall rather disturbing viewing. The fact the film elicits that kind of a response from its audience is no small feet.

Das has very correctly underscored how women have a more humane streak towards people -- regardless of whatever faith/creed they are from. However, the more positive face of the Hindu-Muslim interaction shown in the film at times does start bordering on the unreal.

All in all, mandatory viewing for all who appreciate serious, no-nonsense cinema.