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In a brilliantly executed shot, Kangana casually looks for some pills in her cloak, while her image in the mirror is standing still.
Raaz-The Mystery Continues is filled with several such spooky moments – some work, some don’t. Bhatt camps’ sequel to the surprise 2001 hit Raaz has no relation whatsoever to the Bipasha Basu-Dino Morea flick. Except that both films are essentially murder mysteries with some edge-of-the-seat moments.
Random suicides in an obscure North Indian village go unreported till a model in Mumbai develops similar tendencies. Kangana Ranaut plays the troubled supermodel (oh no, not again!) Nandita who is dating news anchor Yash (played by a confident Adhyayan Suman) who happens to be a atheist, a non-believer. RTMC takes time to find its bearings. After a shocking opening sequence, the plot shifts to the customary Bollywood love angle, with couple of melodious numbers thrown in. Due to its particularly long first half the writers take a while to get to the real point.
But the action picks up soon. Enter Prithvi (Emraan Hashmi) – a mysterious painter who is hooked onto guzzling beer and painting Nandita’s pictures. Based on his premonitions Prithvi starts painting Nandita’s future. After a few near-fatal incidents Nandita starts believing Prithvi and despite Yash’s disapproval, goes out to unravel the Raaz. Turns out, there are some strange links connecting the suicides to all the three protagonists.
A gripping narrative:
Much like comedy, watching a horror flick also requires some suspension of disbelief. RTMC is a clever blend of superstition, mythology with social maladies and religious politics. The plot flows like a thriller - filled with enough twists and turns to keep you engaged. The makers have clearly kept a mass audience in mind. Because without getting too melodramatic, the narrative packs in a number of crowd pleasing, emotional sequences. This emotional link is handled competently in the climax which may not be as scary as expected but certainly not funny either.
There’s also a split second full-bodied nude shot of Kangana when she is thrown out of the bath tub. But it is executed with utmost aesthetic value.
Competent performances:
Most of RTMC’s appeal lies in its performances and Mohit Suri’s direction. Suri whose track record includes Zeher, Who Lamhe, Kalyug and the underrated Awarapan, achieves a stable balance of romance, horror and mystery without letting one overpower the other.
Kangana Ranaut is in top form. Despite her somewhat predictable histrionics, she delivers a controlled performance, rarely going over the top. She looks gorgeous in every frame and seems to have worked on toning down that distinct accent of hers. Her dialogue delivery has finally come out of the Gangster mode.
Adhyayan Suman is surprisingly pleasant in front of the camera. Though his dialogue delivery reminds you of his motormouth father, RTMC is a huge improvement over his disastrous debut. Saddled with a complex part, he displays an ability to pull off a gray character quite well. Though he definitely needs a better designer, a haircut and a dance instructor. As a pair the visible age difference robs Kangana and Adhyayan of any chemistry. But the supposedly real life lovers smooch on more than one occasion in the film.
That’s some achievement for Suman in a film that stars the serial-kisser Hashmi.
Emraan –Mass hero in the making:
Which brings me to Emraan Hashmi. For an actor with average looks and limited talent, Emraan has shown consistent growth from Footpath to his last Jannat. I saw RTMC in a Mumbai single screen and his entry was greeted with loud cheer and whistles. In his Mahi number Emraan drives the frontbenchers into a frenzy. Perhaps there is no bigger barometer for an actor’s star power. Despite a one-dimensional role he is fantastic in every scene.
Now here’s the surprise. I an really beautiful moment when Nandita and Prithvi talk about their hidden fears, there is a spark of attraction, but our man doesn’t kiss.
There’s also a surprise cameo in the climax in the form of a ghost. But I won’t spoil the surprise.
Good soundtrack, plush production values:
RTMC has brilliant music. Chances are you are already in love with the album, but some of the situational tracks register an even stronger impact on screen. Though I wonder why the remix video currently playing on channels wasn’t used in the film.
Mohit also ventures into master RGV’s territory by creating shock value with camera angles and sound effects. But some of his attempts to spook you come out unstuck, unlike Varma’s Phoonk and Bhoot. In terms of look, Bhatts go easy on their trademark cost-cutting, as the film boasts of good production values.
Not a Ramsay scare fest:
Vikram Bhatt’s Raaz, is like a polished Ramsay flick. The horror in RTMC is slightly more on the metaphysical side. But because of this the scary quotient never reaches the levels of the prequel. So you might find yourself screaming less than you did in that Raaz.
Mainstream Bollywood has largely ignored horror as a genre. Which is why even average plagiarised spook fests like Phoonk and 1920 find acceptance. RTMC is not the greatest or the most original of horror films. But after last weeks’ unintentionally horrifying attempt at Chandigarh meets China brand of humour – this is a genuinely sincere horror film.
Verdict: Even if RTMC doesn’t scare the daylights of you, it will definitely engross you. Paisa vasool entertainment.
Thanks to www.bollywoodcelebritynews.com
Raaz-The Mystery Continues is filled with several such spooky moments – some work, some don’t. Bhatt camps’ sequel to the surprise 2001 hit Raaz has no relation whatsoever to the Bipasha Basu-Dino Morea flick. Except that both films are essentially murder mysteries with some edge-of-the-seat moments.
Random suicides in an obscure North Indian village go unreported till a model in Mumbai develops similar tendencies. Kangana Ranaut plays the troubled supermodel (oh no, not again!) Nandita who is dating news anchor Yash (played by a confident Adhyayan Suman) who happens to be a atheist, a non-believer. RTMC takes time to find its bearings. After a shocking opening sequence, the plot shifts to the customary Bollywood love angle, with couple of melodious numbers thrown in. Due to its particularly long first half the writers take a while to get to the real point.
But the action picks up soon. Enter Prithvi (Emraan Hashmi) – a mysterious painter who is hooked onto guzzling beer and painting Nandita’s pictures. Based on his premonitions Prithvi starts painting Nandita’s future. After a few near-fatal incidents Nandita starts believing Prithvi and despite Yash’s disapproval, goes out to unravel the Raaz. Turns out, there are some strange links connecting the suicides to all the three protagonists.
A gripping narrative:
Much like comedy, watching a horror flick also requires some suspension of disbelief. RTMC is a clever blend of superstition, mythology with social maladies and religious politics. The plot flows like a thriller - filled with enough twists and turns to keep you engaged. The makers have clearly kept a mass audience in mind. Because without getting too melodramatic, the narrative packs in a number of crowd pleasing, emotional sequences. This emotional link is handled competently in the climax which may not be as scary as expected but certainly not funny either.
There’s also a split second full-bodied nude shot of Kangana when she is thrown out of the bath tub. But it is executed with utmost aesthetic value.
Competent performances:
Most of RTMC’s appeal lies in its performances and Mohit Suri’s direction. Suri whose track record includes Zeher, Who Lamhe, Kalyug and the underrated Awarapan, achieves a stable balance of romance, horror and mystery without letting one overpower the other.
Kangana Ranaut is in top form. Despite her somewhat predictable histrionics, she delivers a controlled performance, rarely going over the top. She looks gorgeous in every frame and seems to have worked on toning down that distinct accent of hers. Her dialogue delivery has finally come out of the Gangster mode.
Adhyayan Suman is surprisingly pleasant in front of the camera. Though his dialogue delivery reminds you of his motormouth father, RTMC is a huge improvement over his disastrous debut. Saddled with a complex part, he displays an ability to pull off a gray character quite well. Though he definitely needs a better designer, a haircut and a dance instructor. As a pair the visible age difference robs Kangana and Adhyayan of any chemistry. But the supposedly real life lovers smooch on more than one occasion in the film.
That’s some achievement for Suman in a film that stars the serial-kisser Hashmi.
Emraan –Mass hero in the making:
Which brings me to Emraan Hashmi. For an actor with average looks and limited talent, Emraan has shown consistent growth from Footpath to his last Jannat. I saw RTMC in a Mumbai single screen and his entry was greeted with loud cheer and whistles. In his Mahi number Emraan drives the frontbenchers into a frenzy. Perhaps there is no bigger barometer for an actor’s star power. Despite a one-dimensional role he is fantastic in every scene.
Now here’s the surprise. I an really beautiful moment when Nandita and Prithvi talk about their hidden fears, there is a spark of attraction, but our man doesn’t kiss.
There’s also a surprise cameo in the climax in the form of a ghost. But I won’t spoil the surprise.
Good soundtrack, plush production values:
RTMC has brilliant music. Chances are you are already in love with the album, but some of the situational tracks register an even stronger impact on screen. Though I wonder why the remix video currently playing on channels wasn’t used in the film.
Mohit also ventures into master RGV’s territory by creating shock value with camera angles and sound effects. But some of his attempts to spook you come out unstuck, unlike Varma’s Phoonk and Bhoot. In terms of look, Bhatts go easy on their trademark cost-cutting, as the film boasts of good production values.
Not a Ramsay scare fest:
Vikram Bhatt’s Raaz, is like a polished Ramsay flick. The horror in RTMC is slightly more on the metaphysical side. But because of this the scary quotient never reaches the levels of the prequel. So you might find yourself screaming less than you did in that Raaz.
Mainstream Bollywood has largely ignored horror as a genre. Which is why even average plagiarised spook fests like Phoonk and 1920 find acceptance. RTMC is not the greatest or the most original of horror films. But after last weeks’ unintentionally horrifying attempt at Chandigarh meets China brand of humour – this is a genuinely sincere horror film.
Verdict: Even if RTMC doesn’t scare the daylights of you, it will definitely engross you. Paisa vasool entertainment.
Thanks to www.bollywoodcelebritynews.com
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