The Bhatts have, most of the times, opted for
subjects that are in sharp contrast to the
products churned out in Bollywood. In MURDER,
their latest endeavour, Mahesh and Mukesh Bhatt
look at extra-marital relationships from a
realistic point of view.
But first things first!
Is MURDER a
mix of UNFAITHFUL and DOUBLE INDEMNITY?
Yes, it's inspired by Adrian Lyne's UNFAITHFUL
[2002; starring Richard Gere, Diane Lane, Oliver
Martinez], with alterations in the story to suit
Indian sensibilities, but not DOUBLE INDEMNITY
Also, does MURDER
have plenty of skin-show and blatant display of
steamy scenes since the promotions focus on a
sizzling Mallika Sherawat?
Yes, the film does
have its share of skin-show, but those scenes
have been filmed aesthetically. The outcome is
not in the least vulgar!
So, does MURDER
leave the viewer enchanted?
Yes, to a large
Sudhir [Ashmit Patel], his wife Simran [Mallika
Sherawat] and their son Kabir are settled in
Bangkok. Engrossed in business and chasing his
dreams, Sudhir ignores Simran, who feels the
vacuum in her life. The cracks in their
relationship begin to show.
On a rainy day, Simran bumps into an old buddy,
Sunny [Emraan Hashmi]. This brings back memories
of the past: Sunny and Simran had been in love
before they got married. But destiny had
something else in store for them.
Back to the present: Sudhir and Simran's
loneliness brings them together and ignites the
passion. Subsequently, they cross all limits,
getting obsessed and addicted to each other in
Sudhir begins to pick up on clues that his wife
is hiding something. He even hires a detective
to keep track of her activities. And his doubts
come true when the detective gives him proof of
her infidelity. Sudhir's world is shaken with
the reality of Simran's affair.
On learning the truth, Sudhir decides to
confront Sunny. And this very meeting leads to
devastating results for all.
MURDER has several factors going in its favour -
MURDER depicts the
changing face of Hindi cinema. In most Bollywood
flicks, the woman remained a mute spectator and
a doormat when her man indulged in affairs. In
TUM?, HAWAS and now MURDER, it's the wife who
commits adultery, not the man.
The passion play
has been amalgamated beautifully in the story.
For instance, Emraan and Mallika's first tryst
appears on screen in fragments, as Mallika
recalls it during her train ride back home. She
undergoes a roller coaster of emotions
simultaneously - she's excited, she's afraid,
she feels guilty. She's simultaneously weepy,
her hands fluttering to her flushed face, wiping
Director Anurag Basu opens the cards at this
stage, making it clear that this is not the
beginning of a relationship, but the first step
Just when you
thought that the story actually ends at the
interval point, the director surprises you with
a twist in the tale in the second half. And by
the time the film reaches its climax, the
sequence of events take the viewer by surprise
But MURDER is not without its share of downers -
The film is
slow-paced in the first half. And that can
really get taxing for a viewer who's hungry for
the events to unravel at a rapid pace. It can
also do without a couple of scenes to perk up
treatment of the film is very city-centric, very
urban, which may restrict its appeal to the
gentry at multiplexes.
The idea of showing
Emraan's girlfriend doesn't come across all that
convincingly. Even the climax - when Ashmit
escapes from the police headquarters and lands
up at the same place where Emraan and Mallika
are having a tiff - seems formulaic after
reaching a crescendo. It gives an impression
that the writer and director were in a hurry to
culminate the story.
impeccably filmed and sexually charged, but had
director Anurag Basu concentrated on the loose
ends in the screenplay, it would've taken the
graph of the film to a different level
Anu Malik's music is an asset. Both 'Kaho Na
Kaho' and 'Bheege Hont Tere' are gems in terms
of composition. Their picturisation of the
latter is quite erotic. 'Dil Ko Hazaar Baar' [Kashmira
Shah sporting a 1950s get-up] is another
excellent number with rich lyrical value that
comes up at the most appropriate time.
Cinematography is first-rate. Seldom have the
eye-catching locales of Bangkok been exploited
so effectively in a Bollywood flick. Dialogues
MURDER stands on three performances - Mallika,
Ashmit and Emraan.
Known as a glamour doll with amazing confidence
to enact bold scenes, Mallika proves that she's
not just a sex goddess. This performance is sure
to catch the viewer unexpected. The actor has
evolved tremendously since her first
full-fledged role [KHWAHISH]. Free exposure of
her anatomy will only multiply her fans.
Ashmit Patel may have looked awkward in his
debut film [INTEHA], but he seems to have
evolved this time around. Handling a complex
role - expressing with eyes mainly - can prove
to be a daunting task for a one-film-old, but
the actor does impress you in sequences that
Emraan Hashmi is fantastic in a role that seems
tailormade for him. Enacting the role of an
obsessive lover with flourish, there's no
denying that the narrative gets a major impetus
thanks to Emraan's performance.
Raj Zutshi [as the cop] does his part very well.
On the whole, MURDER is an engrossing
entertainer. At the box-office, the lethal
combination of an attention-grabbing title, sex
in its content and aggressive promotion will
ensure a safe ride for the film. Business at
metros should prove to be the best.