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.
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.
posted by SIAII at 11:36 PM
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