Kanchi : Subhash Ghai Should Retire[/b]
Filmmaker Subhash Ghai's love for mountains is seen in many of his films, these are captured with the sobering imposingness of a climber gazing lovingly and reverently at the peaks he knows he must conquer.
And conquer, he does. Kaanchi delivers a walloping punch. From the tale of a girl from the hills contesting the city marauders' rights to usurp her of land and love, to a frenzied saga of revenge in the big bad city where the innocent girl assumes the role of a desi Lara Croft, Ghai tackles the craft and the emotions with a devilish deftness. In a script as intricately woven as a Kashmiri carpet, Subhash Ghai threads together a jam picked jigsaw. Something or other is always happening in some corner of the script. Kaanchi is a puzzle of a film. It bustles and brims over with reformatory ideas, anti-corruption zeal, and lunges for an overweening ambitious format of storytelling where Raj Kapoor's Ram Teri Ganga Maili meets Rakesyh Mehra's Rang De Basanti. Ghai employs every cliche in the book of formulistic storytelling. And you know what? He succeeds in telling a spectacular story filled with muted sound and flamboyant fury.
Mishti gets very strong support from her two leading men. Kartik Aaryan's very athletic ramp-friendly personality is used to play off the heroine's rustic artlessness. Kartik has a very bright future ahead. In the second-half the ever-dependable Chandan Roy Sanyal takes over as the man in Kaanchi's life. Cast as a roguish cop whose morals are as questionable as the lyrics of the item song he dances to, Chandan plays a role similar to the one Parmabhrata Chatterjee played to Vidya Balan in Kahaani.
In spite of its jagged edges and its tendency to take itself a tad too serious, Kaanchi manages to simulate a supple empathy for its disarmingly uni-dimensional characters. Sudhir Chowdhary's cinematography helps to fund Ghai's dream of a nation where one girl with the help of some rock-singing youngsters can free us of corruption.
Kaanchi tells us there is no harm in dreaming. It marks the return of the Showman to form. This is a warm hearted free spirited ode to new-age womanhood. The female protagonist's dharm-yuddh with evil forces may lack in subtlety. But then the time to tackle terror with tact is over.
It's time to take on corruption head-long. Kaanchi does just that with feeling and drama.
Filmmaker Subhash Ghai's love for mountains is seen in many of his films, these are captured with the sobering imposingness of a climber gazing lovingly and reverently at the peaks he knows he must conquer.
Mishti gets very strong support from her two leading men. Kartik Aaryan's very athletic ramp-friendly personality is used to play off the heroine's rustic artlessness. Kartik has a very bright future ahead. In the second-half the ever-dependable Chandan Roy Sanyal takes over as the man in Kaanchi's life. Cast as a roguish cop whose morals are as questionable as the lyrics of the item song he dances to, Chandan plays a role similar to the one Parmabhrata Chatterjee played to Vidya Balan in Kahaani.
In spite of its jagged edges and its tendency to take itself a tad too serious, Kaanchi manages to simulate a supple empathy for its disarmingly uni-dimensional characters. Sudhir Chowdhary's cinematography helps to fund Ghai's dream of a nation where one girl with the help of some rock-singing youngsters can free us of corruption.
Kaanchi tells us there is no harm in dreaming. It marks the return of the Showman to form. This is a warm hearted free spirited ode to new-age womanhood. The female protagonist's dharm-yuddh with evil forces may lack in subtlety. But then the time to tackle terror with tact is over.
It's time to take on corruption head-long. Kaanchi does just that with feeling and drama.