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But heroic movies surely do come along once in a while from the movie industry. Sudden and unexpected, though a little on the grimmer side.Veejay Gaurav Chopra as a shit-scared film star getting extortion calls is mousy enough to remind us that heroes don’t come out of the movies. The humour, when it strikes, is like the bomb blasts. But then that’s precisely what this out-of-the-box terrorist-thriller was looking for. Sanjoy Chowdhury’s background music over-punctuates every sequence. His narrative hurtles towards a photo-finish where the newspaper headlines are swallowed up in a swamp of thriller-rituals that take the plot aback to create an aura of unstoppable suspense. It’s an interesting but unacceptable end game, more suited to Quentin Tarantino when all the while we were looking at Pandey’s film as belonging to Mahesh Bhatt’s genre of cinema.īy the time Naseer’s eruptive enthusiasm climaxes, the narration goes into the realm of the improbable, contriving to create an atmosphere of utter escapism in a film that you thought was stubbornly wedded to reality.But that’s where Pandey has been heading all along. For, what we get here is terrorism turned inside out, the anguish of extremism facing upside-down. The closing lap of the edge-of-the-seat is a clever plot-defining twist, perhaps too clever for its own good. Most of the film cracks the entertainment code through the ongoing dialogue between the cop and the master-blaster, quite in Clint Eastwood and John Malvokich in Wolfgang Petersen’s “In The Line Of Fire”, triggering off a thought-provoking chain of ideas on the common man and terrorism and how far the violence of extremism affects the self-worth of the middle class. Violence in this way is made both comic and cosmic. A lot of the film has been shot in stylish top-shots where the terrorists and counter-terrorist manoeuvrings appear larger than life and yet miraculously shrunken in the cosmic scheme of things. Cinematographer Fuwad Khan captures the blood on the roads of Mumbai with a disaffected relish.