| Tweet |
|
 |
|
|
|||||||||||||||||||||||
|
|||||||||||||||||||||||||
|
|||||||||||||||||
| With a perfectly predictable plotline, if a film still keeps you riveted through its runtime, you know there’s something earnestly right about it. Lahore has a right director. Sanjay Puran Singh Chauhan has the finesse to package the standard story with the requisite action and intensity that a sports film demands. The chronicle is conventional to the core within the boxing parameters, employing the rise-of-the-underdog conflict like in Hollywood classics ranging from Sylvester Stallone’s Rocky to Russell Crowe’s Cinderella Man . It’s traditionally Indianized with the revenge-recipe used in desi prototypes ranging from Mithun Chakravarthy’s Boxer to Deol family’s Apn e. The sport is altered from boxing to kick-boxing that offers more flexibility with its freestyle fight sequences. And eventually a new identity is imparted to the film by garnishing it with the social theme of India-Pakistan brotherly bonding. Dheerendra Singh (Sushant Singh) is selected in the national kickboxing team and under the guidance of coach Rao (Farouque Shaikh) represents India at the international kickboxing tournament in Kaula Lampur. In his combat with the Pakistani opponent Noor (Mukesh Rishi), Singh loses his life. Younger brother Veerendra Singh (Aanaahad), who is a professional cricketer, switches sport to avenge the death of his brother. He makes it to the follow up tournament in Lahore in Pakistan where he contends against Noor. Though the basic narrative is conventional, the writing by Sanjay Puran Singh Chauhan and Piyush Mishra is well-etched touching topics beyond the field, like the politics involved in selection, psychic maneuvering of the sportsmen and his consequent viciousness for victory. As multiple characters make entry in initial reels, you take time to understand their characterizations and absorb their aspirations because of the new domain of the less-popular sport. But once you get acclimatized with them, you appreciate the film’s comprehensive outlook on the sport covering diverse characters from politicians, bureaucrats, coach, psychiatrists to the players. The film works essentially for its skillfully choreographed combat sequences by action director Tony Ching Siu Tung. The kickboxing sequences at the pre-interval point as well as in the climax are extraordinary, capably highlighting the power and aggression of the players. The script demands liberal footage of combat sequences which the film efficiently delivers. Thankfully the action is innovatively designed and never appears heavy, overdone or monotonous. Another positive aspect of the film is its casting. While it doesn’t boast of any big stars, the unassuming actors that it employs are perfect for their parts. Sushant Singh is apparently a trained boxer and Mukesh Rishi’s physique and personality makes him the best bet for a kick-boxer champion. Aanaahad doesn’t brag of conventional hero-material looks but with his chiseled physique and action expertise, this film unarguably seems the most ideal debut for him. And while at first thoughts, the affable Farouque Shaikh would seem ludicrous as a kickboxing coach, the director is sensible enough to exploit him only in dramatic scenes rather than action sequences. However, the Indo-Pak bonding that the film attempts to explore is touched only externally with a battling stance throughout that is substituted by brotherhood only in the climax. The thought is to show how India forgives and forgets the past for a friendly future but with the narrative restricted only till the sport, it loses on the possibility of establishing a strong metaphor on the relentless relationship between the two countries. Also the cliché of showing the neighbouring country in a backstabbing light (the pre-interval combat) or resorting to unethical means could have been avoided, esp. when the intention was to initiate friendship. Technically the film is fine product. Wayne Sharpe’s background score and Nakul Kamte’s sound design add up to the intensity of the film. Editor Sandeep Singh Bajeli deftly punctuates the action sequences. From Delhi’s Kutub Minar to Lahore’s Minar-e-Pakistan, cinematographer Neelabh Kaul captures the correct spirit of the countries with élan. M M Kreem’s music isn’t essentially an important element of the film and is relegated to the background. Debutante Aanaahad is earnest with action and the director rightly makes him speak less and play more. Farouque Shaikh with a Hyderabadi accent makes way for some spontaneous humour and strong drama. Both Sushant Singh and Mukesh Rishi are amazing in kickboxing sequences. Sabyasachi Chakravarthy is authoritative as the Pakistani coach who can’t see failure and his mixed expression after the climactic combat is remarkable. Saurabh Shukla shares good comic-camaraderie with Farouque Shaikh. Kelly Dorjee and Jeeva struggle in dialogue delivery with their heavy accents but are decent in their acts. Ashish Vidyarthi, Shraddha Nigam and Shraddha Das add good support. Lahore is a hard-hitting film that delivers a good cinematic punch! |
Print
Lahore