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Registration date : 2008-01-04

Strangers Empty
PostSubject: Strangers   Strangers Icon_minitime12/1/2008, 9:49 pm

Strangers Sonalikulkarni_big
By Subhash K Jha

Starring Jimmy Sheirgil, Kay Kay Menon, Nandana Sen, Sonali Kulkarni
Directed by Aanand L. Rai
Rating: **

A cocky Hitchcock, a desi Brian da Palma without the steamy sex.

Or is this the Londoners' version of Karan Johar's Kabhi Alvida Na Kehna….Yup, this is a darkish devious stylish

delicious thriller with balls….er, brawls.

The three main characters, married or involved with one another are at one another's neck, while poor Sonali Kulkarni

(excellent in the one scene where she breaks down for her dead son) remains largely out of it.

Sometimes it pays to not get involved.

Jimmy Sheirgil (who for some unknown reason likes to flaunt his singing talent in this brawl-room dancing ) is so

much like Shah Rukh Khan's KANK you wonder if the character has modeled his life on the Khan. Except that

Jimmy's impairment is more emotional than physical.

A work-less worthless writer (watch out for the still-lovely Kitu Gidwani as his supportive but disgruntled publisher) he

lolls around on the sofa all day long taunting his wife about her sleeping habits.

And we aren't even mentioning any snore points.

The quadrangle (with Kulkarni's minimal contribution) has interesting Hitcockian possibilities, only half-realized. The

narration moves at a measured momentum. You feel the director is holding back the characters from a fuller emotional

expression. Maybe they're shy. Maybe they just don't care.

Strangers Jimmy2_big

Debutant director Aanand Rai has a game plan and a destination. But he's in no hurry to get there. The initial

conversations between Sheirgil and Menon on the speeding train hold plenty of prattling promise.

The exchanges, you soon realize aren't so much about the two men as about the wives in their lives.

This is where the situation gets tangled beyond the plot. Just why the two men would want their respective spouses

bumped off never comes into the kingdom of the convincing.

We are left looking at a world manoeuvred by the

selfserving desires of four innately unhappy people in two marriages that aren't half as wretched as the ones Karan

Johar designed in KANK.

The film's crux is a murder plan that never quite takes off. As layer after layer of deception is peeled off in steady

motions of a narration that knows its boundaries and never dreams of crossing it, we're left looking at the characters as

they are rather than the way they want us to see them.

The film is stylishly put together. Cinematographer Manoj Shaw captures the quartet of cut-up characters in a

langorous sea of Londoners who don't seem to care enough to even stare.

The incidental characters are as

half-finished as the main protagonists,hovering between desire and fulfillment, never quite sure which way to


The performers attempt a casual look-ma-no-acting kind of candour which works when the dialogues support these

irrelevantly unhappy people.

Strangers Nandanasen_big

The sequence in the bar where Nandana Sen flirts cautiously with her soon-to-be extra-marital lover Kay Kay Menon

(as clenched as ever) shows the directors command over the craft of infidelity.

But somewhere down the line the betrayals of the plot far exceed the game of deception played by the


The music score is uneven. And the club song with a pole dancer is laughably a odds with the smoky sophistication

that the presentations aims for. Somewhere in the second-half the Nightingale Lata Mangeshkar's voice pops up for a


She belongs to a different world!

Strangers is a strangely stirring thriller with echoes from Hitchcock's Dial M For Murder and Johar's KANK setting off

an uneasy chain of events that lead to a disastrous denouement.

One isn't sure if the director should share the blame for his characters' messy emotional life.
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