The Telegraph
Since 1st March, 1999
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Slick style


Director: Saron Datta
Amitabh Bhattacharjee, Koel Mallick, Kanchan Mullick, Sagnik, Rajesh Sharma, Santilal Mukherjee, June Maliah

After a horror film, a thriller. Saron Datta’s first film, Raat Barota Paanch — which was a horror by consensus — one wondered if the lightning 12-hour bandh was called last Friday because of Singur or Shikar, his second film, which the director chose to grandly describe as a “hardcore thriller” with “a sublime romantic angle to it”. Based on a police file, Shikar is about a hardcore don (Santilal), three hardcore mercenaries with a psychic past (Amitabh, Kanchan, Sagnik) and a hardcore “piece of uniform” cop also with a psychic past (Rajesh).

On the side is the double-role Amitabh, with good-boy oily hairstyle and sissy smile, who has eloped with a sprightly missy whose idea of characterisation is an affected giggle like Aishwarya’s and a perm that messes up the lovely Koel so much that you would think she was someone who had run out of the horror film referred above. Instead, in Shikar, she is run into a brothel where the real thrills are sent out in the wanton form of mando meye June. And, of course, in Koel’s pallu which is pulled down by self in accusation, and remains pulled down for about half the film. Till Amitabh remembers to place it back respectfully for the taalis; maybe he was waiting for the appropriate dialogue to be written meanwhile.

In the perspective of Bengali mainstream, the slick making (camera, editing, dialogues, performances, especially Kanchan in manic mode) pushes it up some notches. They need not have called the bandh.

Anil Grover

Crude and crass

little man

Director: Keenen Ivory Wayans
Cast: Marlon Wayans, Shawn Wayans, Tracy Morgan, Kerry Washington, John Witherspoon

Marlon Wayans, taking advantage of his dwarf-size body, sneaks into the home of Shawn Wayans and Kerry Washington, who most incredibly actually mistake him to be a baby, as he is pretending to be.

After that what follows defies every sense of logic, and is so full of crude and crass jokes, one wonders what exactly was Keenen Ivory Wayans thinking of when he shot the scenes. That the juvenility of his idea didn’t hit him at all makes one really wonder if at least Marlon ought to have hit him with one of his gizmos, as he keeps hitting Shawn in the film.

Deepali Singh

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