Fitness

If you’re an exercise enthusiast, you know that there’s no such thing as a one-size-fits-all exercise plan. All our bodies are built differently, meaning that you need to customize your workout plans to best suit your body shape and yield optimum results.

Since the dawn of mankind, people have walked. It is one of the easiest, most natural things you can do - yet with cars, buses, trains and escalators easily available, modern technology has made it a less favorable option for getting around. And because of this, people walk much less often today, perhaps less than at any other time in the history of humanity.

It’s raining remakes! RANGREZZ. HIMMATWALA. Now CHASHME BADDOOR. I’ve often been asked, is there a paucity of ideas in Bollywood? Why do dream merchants opt for remakes? Why not inventive concepts? Additionally, a lot of cineastes strongly feel classics should not be tampered with. For, rarely has a remake surpassed the original, in terms of content. In the process, those opting for remakes have lost credibility when comparisons are made… Now David Dhawan steps into the revered territory with CHASHME BADDOOR, a film attempted by Sai Paranjpye more than three decades ago. CHASHME BADDOOR is loved for its simplistic plot, wittiness and slice of life realism. A story of three friends who fall in love with the same girl and the confusion that ensues… Sure, David borrows from the original, but the humor in his version is in your face, over the top, flamboyant… it’s simply wild, when you compare it with Sai’s version. Does it mean it’s more entertaining or a hodgepodge of the cult classic? Let’s analyse… CHASHME BADDOOR narrates the story of three friends [Ali Zafar, Siddharth, Divyendu Sharma], who attempt to woo the same girl [Taapsee Pannu]. While the girl sets her sights on one of the guys, the remaining two go on an overdrive to tear the love birds apart. At the very outset, let me make it clear that David’s adaptation is shades different from Sai’s version. As different as chalk and cheese. As different as Rohit Shetty’s BOL BACHCHAN was from its original source, Hrishikesh Mukherjee’s GOL MAAL. Like I stated at the outset, this one’s over the top, loud and very ‘David Dhawanish’, if one can use this terminology. But to give the credit where it’s due, it’s thoroughly engaging and entertaining. David has made a career out of comedies and at a point of time, was referred to as the successor to Manmohan Desai thanks to the dollops of entertainment he offered in his movies. With CHASHME BADDOOR, David steps into the comfort zone yet again. There’s no denying that the humour he injects in this one is not aimed at the purists, but the spectator of today, who may not be as complaining purely because of the laughs and entertainment it has to offer. Besides, David ensures that there’s hardly any dull moment in the present-day adaptation. He executes the film with a certain ease, opting for amusing punch lines, wild situations and mad and crazy episodes. The game of one-upmanship that was evident in his earlier works, namely DEEWANA MASTANA [Anil Kapoor, Govinda fighting for Juhi Chawla’s attention] and MUJHSE SHAADI KAROGE [Salman Khan, Akshay Kumar’s attempts to impress Priyanka Chopra] is very evident in CHASHME BADDOOR as well. The battle of wits is enjoyable for sure. But there are times when certain episodes appear prolonged and the jokes fall flat. The intent of making you laugh does not come across as strongly in few portions. Besides, the soundtrack is absolutely in sync with the content, but the placement of songs could be more appropriate. However, the usage of popular songs in the flashback portions is refreshingly different. Sajid-Farhad’s dialogue are aimed at evoking laughs and they serve the purpose. The one-liners, especially those delivered by Siddharth and Divyendu, are hilarious. Cinematography [Sanjay F. Gupta] captures the colourful setting well. Now to the performances! Ali Zafar gives a wonderful account of himself as he lights up every sequence he features in. Siddharth does a complete turnaround from the roles he has portrayed in Hindi films [RANG DE BASANTI, STRIKER], handling his part with gusto. Divyendu Sharma, who debuted in PYAAR KA PUNCHNAMA, too does an about-turn this time. He slips into his part most effortlessly. Taapsee Pannu, who makes her debut in Hindi movies after acting in South Indian language movies, is vivacious and confident. Rishi Kapoor gets a complete makeover in CHASHME BADDOOR and he’s damn adorable in sequences with Lillete. Anupam Kher lets himself go completely and is absolutely wild in dual roles. Lillete Dubey is super, while Bharti Achrekar [as Taapsee’s grand-mom] is loveable. Ayaz Khan has nothing much to do. On the whole, CHASHME BADDOOR encompasses the spirit of the original, but has been customised to entice the present-day spectators. An entertainer with dollops of humour and wild situations thrown in, this one’s a laugh-riot that should not be missed!

HIMMATWALA was THE film that gave an impetus to the trend of remaking South Indian films in the 1980s. Post this film, there was a sea of remakes, with Jeetendra, Sridevi, Kader Khan, Shakti Kapoor and Asrani featuring in almost every remake… It’s easy to remake a successful film, but the responsibility that Sajid Khan carries on his shoulders cannot be assessed in mere words. Right from the masala quotient to Ajay and Tamannah matching steps with Jeetendra and Sridevi, respectively, each and every aspect of the new version will be examined with a magnifying glass. While a section of the industry [as well as moviegoers] opine that trendsetting movies should not be touched [read remade], there also exists a section that feels that the present-day generation would love to watch those films in new avtaars. The debate continues… The pertinent query is, does Sajid Khan’s HIMMATWALA recreate the magic of K. Raghavendra Rao’s HIMMATWALA [1983], which itself was a remake of a Telugu film? At the very outset, let me inform you that the two HIMMATWALAs are almost similar, yet dissimilar. While the basic premise remains identical, besides retaining two hugely popular tracks, Sajid has modified certain portions of the film, besides adding a few episodes. What’s common between the two versions is the intent to provide entertainment to its target audience — those who relish masala fares. Now let’s talk of the new HIMMATWALA. It’s all about entertainment, entertainment and entertainment. Right from the styling to death-defying action to fiery dialogue delivered in high decibels, everything that you get to see in HIMMATWALA is reminiscent of the Bollywood of the 1980s. The mother-son drama, the hero-villain conflict, the heroism… even Ajay’s introductory sequence is straight out of 1980s. Be forewarned, HIMMATWALA is 1980s cinema packaged in a new wrapping, but even if you have an appetite for the masala movies of yore or are ready to do a time travel to the angry young man of 1980s, chances are you will feel suffocated by the on-screen goings-on that Sajid Khan dishes out in the name of entertainment. HIMMATWALA narrates the story of a son [Ajay Devgn], who comes to the village to avenge the injustice meted out to his father [Anil Dhawan], who had been wrongly accused by the Sarpanch [Mahesh Manjrekar] of robbery. HIMMATWALA takes you back to the familiar terrain. It’s the typical good versus bad saga loaded with every possible ingredient that makes masala films tick. Sajid ensures that those who have watched the earlier HIMMATWALA — or those who haven’t watched it — get paisa vasool entertainment in those 2.30 hours, but, unfortunately, what unfolds on screen is so routine and monotonous that you fervently hope for some novelty in this adaptation. One doesn’t mind massy entertainers, but there has to be a hook to keep the viewer’s attention arrested. HIMMATWALA provides that only towards the closing stages of the film, when the mother [Zarina Wahab] gets to know of Ajay’s true identity. Sajid makes an attempt to pay homage to the cinema of yore, but what he delivers makes you sit motionless for most parts. If a movie fails to invoke wolf whistles or ovation at the right places, you realize something is seriously wrong. The biggest problem is Sajid does nothing, absolutely nothing out of the box or path-breaking in the current scenario to grab your attention, which is why HIMMATWALA fails as a film. The romance lacks fire, the drama is devoid of intensity, even the action is plain ordinary… Frankly, HIMMATWALA has nothing that warrants a repeat viewing. While Sajid retains two hugely popular tracks from the original [‘Naino Mein Sapna’ and ‘Taki Taki’], HIMMATWALA has yet another track that’s lilting — ‘Bum Pe Laat’. However, ‘Thank God It’s Friday’, at the very start of the film, is plain ordinary, despite the star presence of Sonakshi Sinha. Sajid-Farhad’s dialogue have always been mass-friendly and the lines in HIMMATWALA are a riot at times. The masses will love the dialogue delivered by Paresh Rawal specifically. The action sequences are just about okay. We have seen better stuff in several escapist fares recently. Ajay slips into the retro avatar effortlessly. Generally known for his intense performances, he plays to the gallery well. He may be awkward in dances, but he makes sure he roars like a lion when he confronts the antagonist. Tamannah faces an uphill task of stepping into Sridevi’s shoes and though she looks photogenic, there’s no acting talent on display here. Mahesh Manjrekar doesn’t evoke terror that one would associate with his character. Paresh Rawal is the real scene stealer, who gets to deliver the best lines. Zarina Wahab shines in the penultimate sequence mainly. Adhyayan Suman is wooden. Rajendra Gupta and Vindu Dara Singh have bit roles. Asrani is wasted. The actress enacting the role of Ajay’s sister does well. Riteish Deshmukh appears in a cameo. Oh, before I forget, there’s a tiger too, who comes across as the real himmatwala in the climax of the film! On the whole, HIMMATWALA fails as a film. The only silver lining is the presence of A-list stars and of course, the hype surrounding the film, which might attract footfalls in mass-friendly circuits initially. But as a film that promises big entertainment, HIMMATWALA is hugely disappointing!

Vashu Bhagnani is synonymous with larger-than-life entertainers. Glamorous stars, foreign locales and lavishly-filmed songs are mandatory in his movies. With RANGREZZ, he delves into the realistic world for the first time. Ditto for Priyadarshan, who returns to hard-hitting, gritty cinema that you appreciated and applauded in his earlier films, especially GARDISH. Of course, RANGREZZ is not as hard-hitting as those films, but it takes the realistic route like those fares. The terrain, once again, is a crowded basti of Mumbai, which has been explored over and over again. Remake of the Tamil film NAADODIGAL [2009], which was remade in various Indian languages subsequently, RANGREZZ is essentially a tale of friendship, with a love story integrated in the plotline. Sadly, it runs out of fizz in its post-intermittent portions, after leaving quite an impression in the first hour. RANGREZZ narrates the story of three friends who attempt to unite another friend with his lady-love. In the process, each of them loses something precious. Consequently, the trio gets a rude shock when they realize that the hardships they encountered to unite the lovers has proved meaningless, as the lovers decide to go separate ways owing to differences. A simplistic plot, humble setting and straight-forward storytelling… RANGREZZ arrives without the usual frills and trappings of a masala movie. The story is not path-breaking, but what works — in the first hour at least — is the realistic milieu and the age-old philosophy that enduring friendship can overcome all odds, with friends standing by each other through thick and thin. Priyadarshan and writer Mushtaq Shiekh incorporate a number of sequences that stay with you — some sweet, some true-to-life, some funny. The entire kidnap drama prior to the intermission is simply outstanding and raises [monumental] expectations from the second hour. However, the writing in the post-intermittent portions is just not convincing. Although a lot seems to have occurred in the lives of the three friends, the manner in which they join hands to start life afresh isn’t persuasive at all. Besides, the tiffs between the married couple seem childish and fall flat. Also, the resolution — the trio trying to reunite the couple — looks far-fetched in the scheme of things. Even otherwise, the pacing slows considerably… In short, the impact that Priyadarshan created so wonderfully in the first half crumbles in the latter half of the enterprise. Like all Priyadarshan movies, RANGREZZ has been filmed very well, although I wish to add, the director’s newer lot of movies, for some reason, appear like a diluted version of his earlier accomplished works. There’s no denying that Priyadarshan is an incredible storyteller and a major part of the first hour has his by-now-famous stamp, but how one wishes the second hour was as captivating. The soundtrack compliments the narrative well. ‘Govinda Aale Re’ and ‘Shambho Shiv Shambho’ are energetic, while ‘Gangnam Style’ [placed towards the end credits] is already popular with one and all. Santosh Sivan’s cinematography is striking. The color tones catch your attention instantaneously. The dialogue [Manisha Korde], especially those delivered by Rajpal Yadav, are wonderful. Jackky’s character in RANGREZZ is shades apart from the one he portrayed in F.A.L.T.U. and AJAB GAZABB LOVE and he pulls it off with supreme confidence. Stepping out of the comfort zone, Jackyy gets to portray a character that has varied shades and he enacts his part with complete understanding. Priya Anand looks photogenic, but doesn’t get much to do. Amitosh Nagpal is alright. Vijay Verma [as Pakya] tends to go overboard at times, but leaves a strong impression nonetheless. Raghav Chanana [as Joy] does well. Rajpal Yadav entertains every time he appears on screen. The two warring politicians, Pankaj Tripathi and Lushin Dubey, are just right in their respective roles. On the whole, RANGREZZ has an impressive first half, but loses focus in the post-intermittent portions. One definitely expected more!

The horror genre is getting increasingly popular with the top ranks in Bollywood. From A-list actors to reputed production houses, the output of horror movies has, all of a sudden, shown an upward trend in recent years. Besides, horror in Hindi films is no longer limited to ghosts or skeletons. It’s about projecting the emotion called fear most valiantly. With the 3D technology making a big splash across the globe, the trend of making horror films in 3D has already caught on in Bollywood. Vikram Bhatt’s HAUNTED, DANGEROUS ISHHQ and RAAZ 3 and Ramgopal Varma’s BHOOT RETURNS narrated spooky tales in 3D. While I am not against this technology, I am glad Suparn Verma decided against making AATMA in 3D because this one’s a psychological thriller — more of a human drama — and the 3D glasses would’ve only acted as a blockade. First things first, AATMA is *not* the quintessential horror film. It’s not about a haunted house or a tormented spirit thirsting for vengeance. It has layers. It has supernatural elements. It tackles an abusive relationship. It’s about a strong emotional bonding between a mother and child. Primarily, it’s the fight between a woman and her dead husband over their child. An interesting concept without doubt, but what comes across on screen is such an anticlimax! AATMA narrates the story of a mother who must fight to keep her daughter safe from the ghost of her father. Maya’s [Bipasha Basu] peace lies shattered when she discovers that her husband [Nawazuddin Siddiqui] intends to take their daughter, Nia [Doyle], with him to his world. The world of the dead! To give the credit where it’s due, AATMA doesn’t resort to appalling, nauseating visuals. It’s low on gore, but high on atmosphere and mood. Unfortunately, Suparn presents the age-old beliefs without giving a new spin to the fight between the dead and living. The film is spiked with been-there-seen-that kind of situations. To make matters worse, Suparn uses evocative visuals and an unsettling story to create a spooky atmosphere, but it doesn’t deliver any scare. Its biggest shortcoming is, it incorporates a lot of shocks in the narrative, but no real surprises. Yet another inadequate aspect is its resolution, which, ideally, should’ve been the highpoint. Even the pacing is too slow for a psychological thriller. Sure, Suparn runs his mind’s eye wild in a couple of sequences, but those chunks are few and far between. Cinematography captures the prevalent tension well. The sound quality, the lifeline of this genre, is appropriate. The background score, surprisingly, is not as impactful. Bipasha tasted blood with RAAZ 3 and in AATMA, she gets to portray the central character yet again: A tormented housewife and a distressed mother. However, unlike RAAZ 3, AATMA doesn’t offer her the podium to demonstrate her acting skills, although the talented actress gives her best shot. Nawazuddin, who won laurels in GANGS OF WASSEYPUR and TALAASH last year, forays into mainstream Bollywood with AATMA. Surprisingly, he too doesn’t get any scope to prove his credentials. Doyel, the child artist, handles her part wonderfully. Shernaz Patel is alright. Darshan Jariwala is effective. Jaideep Ahlawat gets minimal scope. Shiv Subramaniam doesn’t impress. On the whole, AATMA stands on a weak script. Besides, there are hardly any scares here. Disappointing!

A khadoos and kanjoos dad can’t see eye to eye with his free-spirited son. The backdrop is a big, fat Punjabi wedding in North India. A brand new car that’s supposed to be offered as the wedding gift goes missing. Now add a tadka of assorted characters: Bhai, weirdos and cops. Perfect recipe for a truly appetizing Punjabi delicacy? Oh, yes! Y-Films’ third movie MERE DAD KI MARUTI is loud, funny, energetic and whacky. Ashima Chibber, who has been an apprentice to talents such as Shimit Amin and Imtiaz Ali, opts for a full-on masaledaar fare in her debut film. Unlike Y-Films’ second endeavor MUJHSE FRAAANDHSIP KAROGE, a classy metro-centric love story, this one’s an over the top comic entertainer that unravels at lightening speed. And it works! MERE DAD KI MARUTI is set against the backdrop of a Punjabi wedding in Chandigarh. It tells the story of Sameer [Saqib Saleem], who sneaks his dad’s [Ram Kapoor] fancy new car out to impress the college hottie Jasleen [Rhea Chakraborty] and how all hell breaks loose when he loses it. The screenplay of MERE DAD KI MARUTI follows the tried and tested mantra: It activates with a dilemma and concludes with a definite resolution. In between, the fast-changing tracks and the colorful characters and episodes keep your attention arrested. You rarely go wrong if you follow this [oldest] storytelling technique in Bollywood… MERE DAD KI MARUTI gets it right on this count. Besides, Ashima does the smartest thing by making it an over the top experience. If you’re from North India, or are aware of how a section of individuals behave in the Northern region of the country, you’d promptly identify with the characters and setting in the narrative. Sure, MERE DAD KI MARUTI stands on a skeletal plot, but screenplay writers Neeraj Udhwani, Pooja Desai and Ashima Chibber make sure they pepper it with lively characters and situations, which makes this ride enjoyable for most parts. MERE DAD KI MARUTI manages to steer clear of major pitfalls. What stands out is the fact that most kids want to break free from parental pressures, but end up in trying situations. This aspect comes across loud and clear in the enterprise, although the film never gets preachy or sermonizing on that front. The only glitch is that the makers could’ve avoided in-your-face, blatant publicity of the vehicle brand. The director could’ve adopted a more subtle approach. Sachin Gupta grasps the essence of the film perfectly and delivers a lively soundtrack. ‘Punjabiyan Di Battery’ is sprightly and stays on your lips instantly. ‘Main Senti Hoon’ is another song that’s aimed at youngistaan. I’d like to make a special note of the witty one-liners/dialogue [Ishita Moitra], which is exactly how youth converse these days. Also, the North Indian dialect adds loads of flavor to the lines. Saqib Saleem showed immense potential in MUJHSE FRAAANDHSIP KAROGE and with MERE DAD KI MARUTI, proves he’s one of the brightest talents around. His comic timing, casual conversations and manic gestures are a delight to watch. Ram Kapoor, a supremely talented actor, gets his role spot-on. The cynics may argue, he’s loud and crass, but his character is meant to behave that way. Also, it only goes to prove how versatile he is, when you recall the suave character in STUDENT OF THE YEAR and the effort he invests in MERE DAD KI MARUTI to appear loud. Rhea Chakraborty is confident, although her character doesn’t offer her much to scope to prove her talent. Prabal Panjabi, also introduced in MUJHSE FRAAANDHSIP KAROGE, stands out yet again. Together with Saqib, he contributes to several lively moments in the enterprise. Ravi Kissen is first-rate as the local Bhai. Karan Mehra [as the groom] is efficient. Benazir Shaikh [as Saqib’s sister] does an okay job. The assorted characters, each of them, lend admirable support. On the whole, MERE DAD KI MARUTI is a joyride. Mazedaar, masaledaar , full-on entertainer. Hitch a ride on this one instantly!

The coming of age movie of a man-child has fascinated many a storyteller in the West. In fact, Hollywood has often churned out movies about guys who refuse to grow up. I, ME AUR MAIN, directed by first-time director Kapil Sharma, has John Abraham reprising the role of an adult who’s a narcissist, a self-obsessed guy who refuses to own up responsibilities and is also commitment-phobic. In the past, movies such as KYA KEHNA! and SALAAM | NAMASTE traversed the hitherto unknown path. Also, the male protagonist in those films did not own up their responsibilities, albeit initially [coincidentally, Saif Ali Khan enacted the part in both the films!]. Although I, ME AUR MAIN is *not* remotely similar to those two films in terms of plotline, it does talk of relationships [live-in, child without wedlock et al], but at the same time, it also takes the easy route of drifting into the stereotypical zone, at times. Kapil brings with him present-day, urban sensibilities, which is evident in a couple of episodes [more on that later], but the drama vacillates between spellbinding and mundane constantly. What emerges is a part watchable fare, despite an attention-grabbing premise. Had Kapil grabbed the opportunity of going unconventional out-and-out, I, ME AUR MAIN would’ve been in a different space altogether. Ishaan [John Abraham] is a charismatic, good-looking music producer from Mumbai. He lives a sheltered existence, is the centre of his life, the apple of his mother’s [Zarina Wahab] eye, always protected by his elder sister Shivani [Mini Mathur] and stays at his girlfriend Anushka’s [Chitrangda Singh] swanky house. He takes them all for granted! But there comes a day when his life falls apart like a house of cards. Fed up of being taken for granted, his girlfriend throws him out of her house. He moves into an ordinary dwelling, his mother leaves his father and moves in with him, his sister is upset with him and his boss [Raima Sen] asks him to resign. His ego is punctured and his confidence shaken. At this point, his new neighbor, Gauri [Prachi Desai], walks into his life and from her he learns the importance of relationships. There comes a point when he has to make a choice… I, ME AUR MAIN has several worthy of note sequences. Instances: John’s I-me-myself attitude comes across very well at the start itself, besides his relationship with Chitrangda, which goes from bad to worse with the passage of time. In addition, the segments featuring John and Mini Mathur echo a certain reality. You can’t help but laud the freshness Kapil brings on the table in those sequences. I’d like to make a special note of the finale, when John wants to be by her side, but Chitrangda’s words of wisdom sound so valid. Nonetheless, there’re tracks that fizzle faster than expected. John’s relationship with Raima, his boss, gets repetitive after a point. Also, John’s quest to introduce a new singer [Sheena Shahabadi] — the entire journey from scratch to star — is humdrum. Even the sequences with Prachi are inconsistent. As and when Kapil decides to take the unconventional route with her character [Prachi fleetingly talking about her previous relationships… also the sequence when John decides to get close to her, after she has had a couple of drinks], those moments compliment the spirit of the enterprise. Conversely, there’re portions that seem far from satisfying or enjoyable. The debutant director strikes the perfect note when he dares to defy the rules of the game. Also, what’s credible is that he spares us the melodrama that generally accompanies such subjects. But, like I pointed out earlier, the screenwriting should’ve been coherent. The storyteller restricts the flow of songs in the narrative, which, again, needs to be appreciated. As for the soundtrack, ‘Cappuccino’ and ‘Na Jaane’ add a lot of zing to the narrative. It’s the first time that John plays a man-child and I must add, he ensures that the character doesn’t deviate into the negative alley. Shunning the ‘Action Abraham’ image that he has steadily built, the actor delivers a striking, likeable performance. Chitrangda lends undeniable credence to her part. Prachi adds so much zest in those tiny little moments, enacting the spunky girl part so well. Mini Mathur is natural to the core, getting the nuances of her role spot-on. Raima Sen is perfect, despite the fact that her role lacks meat. Zarina Wahab is dependable as the doting mum. Sameer Soni doesn’t get any scope. Errol Peter Marks is efficient. On the whole, I, ME AUR MAIN is a decent watch. More for the urban youth!

The terror attacks on Mumbai on 26/11 will remain etched in our memory forever. The attacks, which were condemned globally, still send a shiver down my spine when I reminisce about it. The dastardly acts by a terrorist organization at multiple sites of the city, killing and wounding hundreds of innocent lives, evoked myriad emotions. One felt furious, powerless, empathetic, distraught and traumatized at the same time. Now relive the catastrophic attacks on the big screen… The tragic event, which led to debates, discussions and candlelight marches, gets chronicled on the big screen. Ramgopal Varma’s THE ATTACKS OF 26/11 is a cinematic interpretation of the barbaric attacks on 26/11, with the maverick film-maker unfolding the attacks on Chhatrapati Shivaji Terminus, Leopold Cafe, Taj Mahal Hotel and Cama Hospital. Also incorporated in this motion picture is the arrest of Ajmal Kasab, the sole attacker who was captured alive, and his execution by hanging at Yerwada Jail in Pune last year. A 7-minute showreel of how the terrorists infiltrated into Mumbai — part of the promotional campaign of THE ATTACKS OF 26/11 — was spellbinding enough to generate incredible attention for the film. The challenge that RGV faced was to reconstruct the events, replicating the gruesome acts on celluloid. But, I wish to add, one relives the emotions while watching the horrifying events unfold on the screen — infuriation, distress, grief, helplessness. It leaves you stunned and traumatized, as if you, too, had been caught in the swirl of events that led to the inexpressible misery and carnage. Also, THE ATTACKS OF 26/11 makes you salute and respect the men in uniform, who fought the terrorists tooth and nail. That’s precisely why THE ATTACKS OF 26/11 triumphs as a feature film. RGV restricts the film to the night of the incident, recording episodes between 9 p.m. and 1 a.m., when Kasab was caught at Chowpatty. The movie grabs your attention from the inception itself, when the terrorists hijack an Indian trawler, Kuber, kill the fishermen on board and compel its head to sail towards Mumbai. Though it’s impossible to chronicle the events in 2 hours, RGV films the brutal attacks with ferocious passion, conjuring up images that seem straight out of real life. The audacious shootout in the lobby of Taj [replicated at another hotel], the slaughter and mayhem at CST, the blood and gore, each and every sequence that unfolds on screen gives you the goose bumps [this could be a deterrent for those who get put off by too much blood and gore]. Especially the sequence at the intermittent point [a wounded child watching a cop cry his lungs out]. It is chilling! It’s in the post-intermittent portions that the viewer gets to know what transpired at Cama Hospital and also gets an insight into the mind of Ajmal Kasab. The sequence when Kasab talks of his Aaka and the fight to save Islam is shocking. But it’s the sequence in the morgue — with Nana confronting Kasab and talking about jihad — which takes the graph of the film to an all-time high. It’s in these two sequences that you realize that the supremely talented storyteller is back with a vengeance. RGV makes sure he doesn’t skip a beat while narrating the vital episodes. Sure, the skeptics may argue, we have read and seen it all through various forms of communication [TV, newspapers, online], but what RGV accumulates is beyond words. This is one film where the real-life episodes take precedence, while technique takes a backseat [unlike his previous endeavors]. The gimmicky camera angles are not there this time, since RGV goes about passionately reliving the horrific tale as it is. In fact, it won’t be erroneous to state that THE ATTACKS OF 26/11 rediscovers RGV, who bounces back with renewed enthusiasm. The screenwriting [Rommel Rodrigues], the lines that the characters deliver [Rommel Rodrigues, Rashid Iqbal, Prashant Pandey], the cinematography [Harshraj Shroff, M. Ravichandran], the shootouts [Javed-Aejaz], the background score [Amar Mohile], the art direction [Udai Prakash Singh] and the edit [Sunil M. Wadhwani, Ajit M. Nair] add credence to the enterprise that attempts to portray the carnage. The impact leaves you stunned and traumatized. Nana Patekar is exceptional. Such restraint and maturity in a performance is a rarity. He is super in the sequences when he disposes before the inquiry commission and electrifying when he confronts Kasab at the morgue. Sanjeev Jaiswal [as Kasab] is so persuasive that you can’t help but hate him and his on-screen actions. The brutality that dwells in some humans comes to the fore as Jaiswal intensely enacts the sequence at the interrogation centre. Saad Orhan [as Ismail] is equally convincing. Atul Kulkarni, Asif Basra, Ravi Kale and Ganesh Yadav make cameo appearances. On the whole, THE ATTACKS OF 26/11 is akin to watching the barbaric act in rawest form. The film not only chronicles the terror attacks, but also pays homage to the sentiments of the people of India and especially the heroes and victims of 26/11. A powerful retelling of a regrettable event in history. Do not miss this one!