Wednesday, November 19, 2008
Sonia (Minnisha) is kidnapped in the second scene of the film because the first has her sauntering for an introductory item number. Nevertheless that’s still speedy for a Bollywood film to come straight to the point. Kidnapper Kabir (Imran Khan) wants to negotiate only with Sonia’s father Vikrant Raina (Sanjay Dutt) who is separated from her mother (Vidya Malvade). He doesn’t demand ransom but initiates a game where he leaves cryptic clues for Raina through mediums like nuns and notes and wants him to resolve the mystery to reach his daughter. The cat and mouse game begins with each one trying to outdo the other.
Kidnap has a smart storyline with well-etched plot-points giving ample scope to both its key players to take precedence in the game without overshadowing the other at any instance. But the execution of certain episodes of the game at advanced stages seems too far-fetched and formulaic. Like the one where Raina barges in Central Jail and facilitates the fleeing of a prisoner appears outmoded.
Also what sounds ludicrous is that the organized captor takes literal liberties in keeping his hostage unbound in the house and furthermore takes her to the beach for a bath. That’s an absolutely accommodating abductor!!! The hostage also seems to have access to a designer wardrobe with a spanking new outfit in every other scene.
The commercial considerations of the makers clearly show off as much as the eternally exposed midriff of Minissha. Forced attempts are made to incorporate item numbers, wedding songs and a wet-and-wild waterfall track where the heroine is essentially draped in white. Thankfully the screenplay doesn’t support a barefaced romance track between Imran and Minissha, an avid tendency of Bollywood films. Also the film doesn’t fall prey of the usual setback of thrillers starting off impressively but losing momentum towards the end. Kidnap has a fulfilling climax with an enamoring epilogue.
Favorably the flashback portion justifying the kidnap motive is kept short and succinct. In fact the expressive pencil sketches in the opening credits communicate the flashback gist more evocatively. The chase sequence between Sanjay Dutt and Imran Khan is modishly maneuvered with some credibly crafted Spiderman styled stunts on an under-construction edifice. Sanjay Dutt’s fear for water remains unexplained though.
Director Sanjay Gadhvi strikes a balance in granting justice to the presence and performance of Sanjay Dutt and Imran Khan and making his film a poised drama of man versus boy. Sanjay Dutt is cool, composed and compelling. Imran Khan is effective as the intelligent abductor who’s always two steps ahead of his opponent. However, the natural actor could go easy on his lip movements that appear synthetic at times. Minissha could go equally easy on biting words in her dialogue delivery. Nevertheless the actress looks ravishing and makes abundant use of her curvaceous anatomy. Rahul Dev is restrained in his resourceful act but his role is cut-short by weak characterization.
If you can overlook some juvenile kidding that the film indulges into, Kidnap, at most, can pass off as a time-pass thriller.
Kidnap has a smart storyline with well-etched plot-points giving ample scope to both its key players to take precedence in the game without overshadowing the other at any instance. But the execution of certain episodes of the game at advanced stages seems too far-fetched and formulaic. Like the one where Raina barges in Central Jail and facilitates the fleeing of a prisoner appears outmoded.
Also what sounds ludicrous is that the organized captor takes literal liberties in keeping his hostage unbound in the house and furthermore takes her to the beach for a bath. That’s an absolutely accommodating abductor!!! The hostage also seems to have access to a designer wardrobe with a spanking new outfit in every other scene.
The commercial considerations of the makers clearly show off as much as the eternally exposed midriff of Minissha. Forced attempts are made to incorporate item numbers, wedding songs and a wet-and-wild waterfall track where the heroine is essentially draped in white. Thankfully the screenplay doesn’t support a barefaced romance track between Imran and Minissha, an avid tendency of Bollywood films. Also the film doesn’t fall prey of the usual setback of thrillers starting off impressively but losing momentum towards the end. Kidnap has a fulfilling climax with an enamoring epilogue.
Favorably the flashback portion justifying the kidnap motive is kept short and succinct. In fact the expressive pencil sketches in the opening credits communicate the flashback gist more evocatively. The chase sequence between Sanjay Dutt and Imran Khan is modishly maneuvered with some credibly crafted Spiderman styled stunts on an under-construction edifice. Sanjay Dutt’s fear for water remains unexplained though.
Director Sanjay Gadhvi strikes a balance in granting justice to the presence and performance of Sanjay Dutt and Imran Khan and making his film a poised drama of man versus boy. Sanjay Dutt is cool, composed and compelling. Imran Khan is effective as the intelligent abductor who’s always two steps ahead of his opponent. However, the natural actor could go easy on his lip movements that appear synthetic at times. Minissha could go equally easy on biting words in her dialogue delivery. Nevertheless the actress looks ravishing and makes abundant use of her curvaceous anatomy. Rahul Dev is restrained in his resourceful act but his role is cut-short by weak characterization.
If you can overlook some juvenile kidding that the film indulges into, Kidnap, at most, can pass off as a time-pass thriller.
Labels: Imran Khan, Kidnap, Minnisha
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