Taxi Number 9211 (2006)

Taxi number 9211 (2006)


With a catchy title, catchier tag line and two of the most physically mismatched actors in the Hindi film industry, it was no mystery that this film would surely turn out to be interesting. The fact that it was well made, well scripted, wonderfully acted out, and a pleasure to watch was a bonus.

Taxi Number 9211 tells the story of a taxi ride gone drastically wrong for a big shot, Jai Mittal, ably played by the extremely talented Mr. John Abraham. Added to his dilemma is the fact that the driver of the taxi, Raghav Shastri, portrayed by the even more talented Mr. Nana Patekar isn’t willing to forgive the trespass that Jai Mittal has made. Therein begins a turn of events that reveals how alike we are be it rich or poor, since we are all inherently human.

Mr. Nana Patekar is back with a bang after being in exile for a few years after the woeful Shakthi. His last few performances have once again shown audiences this actor’s tremendous range and versatility, from being the bumbling baddie in Bluffmaster, to the really badass baddie in Apharan, and now portraying the common day man Raghav Shastri, who is faced with the everyday problems that we all confront.
Mr. Patekar’s acting strength is how naturally he eases through all his scenes. Effortlessly like a hot knife through butter does he give life to his character and whether he is talking to his son or his wife, he is unpretentious, unassuming, and forever real.
There are too many scenes to mention in which Mr. Patekar is able to show us why he is one of the finest actors of all time, a comment I am sure will raise many an eyebrow, but I stand by it.

As physically unappealing as Mr. Patekar is, is how delightful to the eye is his counterpart in this film. A fine actor in his own right, Mr. John Abraham, in my opinion, remains grossly underappreciated for his work in Bollywood. He may be paying the price for being brave enough to tackle many roles and many subjects and many characters. He was good in Paap, Saaya and Elaan, bad in Aetbaar and Dhoom, comical in Garam Masala and a figment of our imaginations in Madhoshi, but this time he has shades of grey, and which way he will end up is best revealed at the end of the film. Mr. Abraham’s Jai Mittal is the perfect opposite of Mr. Patekar’s Raghav Shastri, the former being classy, suave, spoilt, and always somewhat lucky, while being totally connected to everything right and powerful.
There is some wonderful and pleasing chemistry between Mr. Abraham and Mr. Patekar and their performances have a synergistic effect on the film. Credit must go to the casting crew for this one. Mr. Abraham has again demonstrated he is a quality actor and his dedication to his work is evident in the maturity and ease of his portrayal.
Of the supporting cast none are as memorable as Raghav Shastri’s wife played by Ms. Sonali Kulkarni, another underappreciated and often over-looked actress who has fallen prey to choosing a wide variety of unglamorous roles. From her mainstream role in Dil Chahta Hai to her erratic character in Dansh, add this to one of Ms. Kulkarni’s sadly soon-to-be-forgotten roles despite the powerful depiction she gives her character.

Though vital in the story at the various points, the portrayals of Mr. Kurush Deboo as a vault manager, Ms. Sameera Reddy as Rupali, girlfriend of Jai Mittal, and Mr. Shivaji Satham as Jai's uncle, are all minute when compared to the main happenings going on in Taxi Number 9211.

Mr. Milan Luthria who has directed works such as Deewar (2004), Chori Chori (2003), and Kachche Dhaage (1999) has done a commendable job in keeping the story tight, and the entertainment enjoyable. Keeping Taxi Number 9211 at less than 2 hours running time while maintaining all the excitement, melodrama, and exchanges involved in a regular Bollywood film, is not an easy ask but Mr. Luthria succeeds greatly in doing just that.
Though many parts of the film are a lift off from the Hollywood film Changing Lanes, starring Samuel L. Jackson and Ben Affleck, I was pleased to see that it is not a carbon copy. Mr. Luthria was able to give an Indian feel to the movie and this is evident in the last 30-35 minutes of the film, right up to the end. These by the way happen to be the best parts of the film. Watch keenly the scenes from the part when Raghav Shastri walks out of the police station and hitches a ride with Jai Mittal, and then right up to the very end, and you will see why this is such a special film.

The music may not be ground-breaking but K.K’s “Aazmale Aazmale” is one of the most appropriate songs for the scene/ part of the film that it appears in. Hear the words carefully and you will see what I mean.

Taxi Number 9211 is a simple story with characters that walk, work, and live amongst us all. The movie is loaded with some memorable one-liners, superb acting, and great chemistry between the leads.
You may or may not be a public transport type of person, but I would strongly recommend you take this one cab ride.

Rang De Basanti (2006)

Rang De Basanti (2006)

Any Mr. Aamir Khan project is much anticipated and much awaited. This particular one won’t be easily forgotten.

Rang De Basanti revolves around a group of young adults from varying backgrounds who find themselves involved in a film project about India’s patriots from yesteryear. The fact that the project’s coordinator is a young lady from Britain only adds to the potpourri of characters that the audience is exposed to. At what point do the disillusioned youth of today find vision in the teachings of yesterday becomes the film’s destination. The film flirts with marrying history to the present, and eventually does, but in a very relevant and beautiful manner. Many colors eventually make Rang De Basanti what it is, but this is clearly a one-man show and it marks a welcome return for Mr. Aamir Khan.

The ace actor returns to the silver screen for the first time in a longtime as only an actor, not involved in his film’s production or direction or anything behind the cameras for that matter, like his last two films, Oscar-nominated Lagaan and Mangal Pandey. The focus and dedication is evident as Mr. Khan breezes though the roles of Daljeet (DJ) and Chandrashekhar Azad. It is hard to believe that almost 18 years have elapsed since we first saw Mr. Khan dancing around trees and telling us he hasn’t planned anything for his future as a college student in his debut film Qayamat Se Qayamat Tak.
His maturation as an actor is laudable and it is no surprise that he is the heart and soul of Rang De Basanti. Mr. Khan makes Daljeet his very own and after a while Daljeet becomes your very own. One cannot imagine any other actor in the role of the protagonist and like a great player it is actually Mr. Khan who makes his surrounding cast better than they probably are. He raises the bar and to their credit, the supporting actors and actresses are on par.
Mr. Khan will make you laugh, make you cry, and every young person who is disillusioned about their country or life for that matter will know that Daljeet is a reflection of their very self.

Mr. Siddhartha is the other notable in the film, portraying the troubled son of a rich industrialist, Karan, as well as Bhagat Singh in the flashback scenes. Once an assistant to famed director Mr. Mani Ratnam, Siddhartha enters his first Hindi film with a restrained performance; just the perfect foil for Mr. Khan. His get-up, eye expressions, and emotions are as sincere as his performance.

The remaining cast members have each given worthy performances. Mr. Sharman Joshi as Sukhi and Rajguru, has grown from his days and roles in Shaadi No. 1 and Xcuse Me. Mr. Kunal Kapoor as Aslam and Ashfaqullah Khan has come a long way from his small role in Meenaxi, and it is notable that he has also served as an assistant director on Aks. Mr. Atul Kulkarni as Laxman Pandey and Ramprasad Bismil is fast growing as a dependable and regular character actor in Bollywood. Ms. Alice Patten as Sue is probably known for her work in a few TV series in Hollywood but her Hindi delivery for Rang De Basanti is good and her chemistry with Mr. Khan is also rather natural. Ms. Soha Ali Khan as Sonia and Durga Vohra really gets to show her acting skills towards the middle and end of the film and her role is significant in terms of progression of the story though her minutes on screen may not amount to much. The special appearance by Mr. Madhavan as Captain Ajay Rathod is also vital to the film and cannot be ignored. Mr. Madhavan remains a fine actor who is sadly under-used in Bollywood. Other cast members include some heavyweight names such as Mrs. Waheeda Rehman, Mr. Anupam Kher, Mrs. Kiron Kher, Mr. Om Puri, Mr. Lekh Tandon, Mr. Mohan Agashe and Mr. Steven Mackintosh and all do justice to their small but valuable roles.

Direction is provided by Mr. Rakesh Omprakash Mehra, a man known more for his ad-film works than his last project, the 2001 supernatural thriller-caper Aks, which starred Amitabh Bachchan and Manoj Bajpai. Though he may have missed the mark with Aks, there is no repeat of that this time, as Rang De Basanti is spot on!
Mr. Mehra shows great directorial skill in ensuring his film flows smoothly and at a good pace. Not once in the narrative does the viewer suffer from boredom and the build-up to the climax is both enthralling and enticing.
The first half of Rang De Basanti is a bit slower than the second, and it may best be described as the dealing of the cards before the actual game begins. With many characters, each of whom is important in the overall scheme of things, Mr. Mehra spends great detail in showing the intricacies of the relationships and the complexities of the idiosyncrasies that the “cards” are bringing to the table.
In the second half the pace picks up, things start happening and the finished product’s beauty is revealed.

One of the most impressive aspects of Rang De Basanti is the way it shows the spirit of rebellion transcending time and age with such a “real” feel to it. Throughout the film you can see how the young adults depicted could be anyone of us today and their lives mirror the kind of lives the youth of today lead - namely a self centered and materialistic existence where ideas like patriotism and making a change are strictly the stuff history books are made of.

Technically the film is brilliant. The scenes from the past and present are juxtaposed against each other, rendering a unique slick treatment, which serves to showcase the slow change in mindset and attitude that overcomes the group through the process of the film. The film thus doubles as a narrative on the changes in perspective and values the young adults go through as they shoot for the film project headed by the British young lady.

Mr. Renzil D’Silva’s screenplay is au naturale and as perfect as can be.

Music is by the talented and luminous Mr. A. R. Rahman and is very appropriate for the film. The songs ensure the story maintains the viewer’s curiosity without ever seeming like a drag and added to this all is the unique “Rahman” stamp of perfection.

Rang de Basanti is a youthful drama, yet light hearted in moments, while tackling a rather serious underlying theme. It is as brave a project as the characters and incidents that make up the colors of this beautiful Bollywood rainbow. I can predict many awards for this film and if you are into intelligent cinema then you are sure to enjoy the “Rang De Basanti”.