Friday, September 30, 2011


All Brawn

Most movies end with a cliffhanger scene, Force begins with one—a badly wounded man thrown off a cliff, grabs an overhanging rock and climbs his way up. Is he human? Or is all that blood on a white vest just ketchup?
One shouldn’t be complaining…here’s a good looking movie, with a Greek God gorgeous hero, a cute heroine, great action, kind-of-okay plot; why then does it not grab the audiences and keep them there. It’s too violent, very predictable and lacks a certain something that stops a well made movie from being a must-watch.
With Salman Khan, Aamir Khan, Akshay Kumar and Ajay Devgan flexing their muscles, action films are back, and many of them are remakes of Southern films.  In the South, they have captured the market on jaw-dropping stunts, and are passing on the content to us. Salman Khan’s current career high is thanks to those Tamil actioners. Nishikant Kamat’s Force, a remake of Kaakha Kaakha makes you think about why Salman’s films are monster hits and why John Abraham doesn’t quite pull it off. Salman adds a bit of tongue-in-cheek to his portrayal of muscular hulks. When the fight in the climax has varied ways of getting his shirt off, the audience is in on the joke.  His directors also see to it that there is other masala— popular songs, an item number or two, at least one quotable dialogue and a sprinkling of humour. If those films are fairy tales of a kind, so is Force.  In reality, cops from the Narcotics Control Bureau aren’t incorruptible hunks. And John Abraham with those sculpted muscles and no expression, could pass off as an android without any CGI help.
He plays ACP Yashwardhan, the kind of cop who likes darkness and silence, does not like dance and drama, has no back story and no life outside of work, till chatterbox Maya (Genelia D’Souza--annoying) turns up to distract him.  Still, he and his handpicked team of devoted officers go about eliminating drug dealers from Goa to Rajasthan to Manali and then come up against Vishnu (newcomer Vidyut Jammwal—terrific screen presence), who is a total savage.
The action sequences are superb (Allan Amin), but there’s still a seen-that quality to them (the scene in the meat locker for instance). Also on the plus side, the cinematography (Ayanaka Bose), editing with its painstaking intercuts; on the minus side, music, choreography, plot holes and most performances. 
The ending of the film hints at a sequel…hope they get a better script. And a sense of humour.


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