To hold the first role Ajay Devgan, Suniel Shetty, Priyanka Chopra, Diya Mirza, Mukesh Rishi, Parth Dave; Directed by Devgan Indigo plant.
Why on ground this film about a father-wire connection it was favoured like film of action? Sure, the “blackmail” has its share of action. But above the stops thoroughly by stages by Allan Amin, it is a film about antisocial which discovers the paternal side with its personality once thrown in close contact with an early child.
Not less the undesirable one. The really honourable father-wire film of end was “Masoom” of Shekhar Kapoor where Naseeruddin Shah and Jugal Hansraj played a father and an alienated son discovering each one.
But Ajay Devgan and little Parth Dave are not in the same league. There seems is a certain level of comfort between the man and the child. They are watchable together that Anil Kapoor and its youthful Co-star in “Rishta” of Indra KUMAR. But Parth misses upwards its blow while being lighter than normal. Ajay as cruel blows of a destiny of combat of man proposes a better execution than envisaged in a film of this nature.
The “blackmail” has some virtues which take it beyond the defects which vitiate film of formula. In spite of some unpleasant cuts of dance and song, it moves at sharp intervals, with a fire of breathing and an ice in the scenes in a tended way written by Robin Batt and Javed Siddiqui.
The irony of a criminal removing by distraction his own son of a pirn of wire (Suniel Shetty) is well typed, although the full capacity of the manuscript stops before being carried out.
But the scenes between the father and his son are well carried out. An order in the forest where the tests of Ajay (with this glance of concern and pain in its eyes) to buy even more hour with his/her son lately discovered is surprisingly sensitive in its subsidiary suggestions.
The preparing of the piece of ground, with Suniel testing hard to adapt in Nick Nolte the mould of the made establishment-man of the wrong in “fear of course” of Martin Scorcese, is however ineffective.
The “blackmail” makes the same error that earlier films to clarify the antagonist. It glamorises the sociopath at the point to improve it. With the difference of other films about the stalker to like “Darr” of Yash Chopra, oscillations of blackmail the pendulum completely party of the hero to anti-hero.
Ajay is effective. In the comparison Suniel is pretty much left with its own devices, just like Deol shone upon in “Darr” with respect to the antagonist Shah Rukh Khan.
Priyanka Chopra planes simply around Suniel trying to resemble an interested wife and a mother… a losing battle. Its song of seduction (borrowed “from the aao of chale of mein of Bahon” with persistent sheets in the film “Anamika” of the Seventies) is like a coffee break in the middle of a match of cricket.
The other lady in this drama about the connection of the boys is Diya Mirza. It makes the effective use of its space to narrow in the few scenes that it A.
The film has very few peripheral natures. It could have been a blessing if the film had gone the right and narrow way of the account to suspense of the beginning to the completion. Unfortunately, it tests please with too many people at the same time.
Polish and Ajay techniques retained the recovery of execution the imminent voyage of film in the disaster, although not enough to make with this a film in value your moment.
A remark must be strongly made. The antione of kidnapper is a character supremely sympathetic nerve. It was transformed into celebration of the syndrome of Stockholm. Is it right to improve kidnapping of child at one time when so many real incidents abductions struck the titles?