|Movie Reviews > Dhoka
||M M Kreem, Shiraz Uppal
||Muzammil Ibrahim, Tulip Joshi,Anupam Kher, Gulshan Grover, Ashutosh Rana, Anupam Shyam, Vineet Kumar, Aushima Sawhney, Bhanu Uday, Abhay Sacchar, Raj Saluja, Munish Makhija
Powerful. Thought-provoking. Disturbing. That sums up DHOKHA, directed by Pooja Bhatt.
After attempting PAAP and HOLIDAY, Pooja charters into a new -- and most difficult -- terrain with DHOKHA. With terrorism raising its ugly head in Hyderabad recently, a film like DHOKHA is all the more topical. In this case, the suicide bomber is the cops wife. Whew, piping hot stuff indeed!
What sets DHOKHA apart from films of its ilk is that the film never takes sides. It doesnt blame any particular community, in fact its not pro or anti any religion. It blames the people who spread terror in the name of religion. Also, it denounces terrorism in very clear words. DHOKHA hits where it hurts. You want to know the reason why people turn into jehadis. DHOKHA probes into the issue and provides the answers.
To sum up, DHOKHA is one of the finest and powerful films to come out of the Bhatt camp. This one dares to unruffle a few feathers!
Zaid [Muzamil Ibrahim] is a Muslim police officer in Mumbai. On the night of a deadly bombing at the New Century Club, he works tirelessly to help the shocked and shattered patients brought to the hospital. But this night of turmoil and death takes a horrifying personal turn. His wifes body, the beautiful Sara [Tulip Joshi], is found amongst the dead. Things turn even more horrific when the police coldly announce that Saras injuries were typical of those found on fundamentalist suicide bombers.
As evidence mounts that his wife, Sara, was responsible for the catastrophic bombing, Zaid is torn between cherished memories of their years together and the inescapable realization that the beautiful woman he loved had a life far removed from their comfortable existence together. DHOKHA is two creative minds at their best -- director Pooja Bhatt and writer Shagufta Rafique. Sure, a film like this is not everyones idea of entertainment, but lets get real. Cinema isnt only entertainment, but enlightenment. With terrorism raising its ugly head time and again, in Mumbai, Delhi, Hyderabad, New York and London, you cannot shut your eyes to all thats happening around us.
DHOKHA tells the story well. The director and her competent writer open the cards at the very outset, within 10 minutes of the start. But its the second hour thats a complete eye-opener. The ugly past, narrated by Anupam Kher, shakes you completely. Brilliantly penned and executed, youre stunned by the atrocities committed by the men in uniform.
The writing wobbles at times. Take the end, for instance. Ashutosh Rana getting caught for his misdeeds looks too sudden. Prior to that, the confrontation between Munish Makhija and Muzamil, although interesting, is long-drawn and tends to get preachy. However, the climax at a Mumbai Railway Station -- the culmination to the horrific tale -- is spell-binding.
DHOKHA is Poojas third and also her finest work so far. She has handled the disturbing issue with utmost maturity. Shagufta Rafiques writing packs a solid punch. Music [M.M. Kreem] is soothing and the best part is, its smartly woven in the narrative. Anshuman Mahaleys cinematography is topnotch.
Muzamil Ibrahim is a discovery to watch. Sure, therere rough edges [at times] that he needs to work on, but considering its his debut film, he pitches in an incredible performance. A real surprise, a pleasant surprise! Tulip Joshi looks gorgeous and although she hardly has any lines to deliver, she makes it up with the right expressions.
Anupam Kher is first-rate. Only a veteran with a terrific range couldve essayed the part with such understanding. Gulshan Grover is perfect. He looks the character. Ashutosh Rana is menacing; very effective. The actor enacting the role of Tulips brother is good. Bhanu Uday is admirable. Aushima Sawhney does a fine job. Anupam Shyam is alright. Munish Makhija is competent.
On the whole, DHOKHA is a well-made film. At the box-office, its for multiplexes of big centres mainly.