Taran Adarsh

Abhay Review by Taran Adarsh

1

Commercial films are of two types. One, which offer non-stop entertainment in the garb of escapism. The other, where the viewer has no clue as to what’s happening. ABHAY falls in the latter category!

V Creations’ ABHAY, scripted by Kamal Haasan and directed by Suresh Krissna, is a thriller set in Delhi.

Major Vijay Kumar (Kamal Haasan) is all set to marry his newscaster-girlfriend Tejaswani (Raveena Tandon).

Vijay Kumar has a demented brother Abhay (Kamal Haasan), who had been an inmate of a few mental asylums for the past 22 years. The asylum authorities turned down many attempts made by his family, requesting for the release of the patient, since they thought that Abhay was unfit and probably dangerous.

And then Vijay makes the grave mistake of going to the asylum to meet his twin brother. Vijay and Tejaswini don’t know that they are responsible for unleashing hell in Delhi and in their own lives.

One of the finest actors on this side of Atlantic, Kamal Haasan has been credited with the story and screenplay of ABHAY. The story ? revolving around twins ? is intriguing, but as the drama unfolds, one realises that Kamal Haasan, the writer, has entered a wrong lane.

The narrative keeps you on the edge of the seat in the initial reels. The marathon sequence between Kamal, Raveena and Abhay in the asylum has been remarkably shot. Ditto for Abhay’s escape from the asylum. But the moment Abhay attains freedom, the film sinks to depths from where it cannot be salvaged.

The animation part, after Abhay consumes drugs, is beyond the reach of an average cinegoer. The common man just can’t fathom or identify with the goings-on. One fails to understand as to why so much footage has been devoted to animation in the first place.

Subsequently, Abhay’s rain dance with Manisha seems forced in the plot, for it has no relevance to the story. The film does gather momentum when Kamal comes face to face with Manisha and later, the murder sequence, but the sequences thereafter tax the patience of the already-restless viewer.

As a writer, Kamal Haasan should’ve unquestionably avoided the sex-laced chatter (Raveena and Kamal discussing their 20-odd ‘encounters’ before their marriage, during their suhaagraat!) and also, the usage of animation to move the story ahead.

Another drawback of the film is its musical score (Shankar-Ehsaan-Loy), which is of inferior quality. None of the songs remain with you once the show ends. However, Javed Akhtar’s poetry, delivered by Abhay at several places, deserves special mention.

Suresh Krissna’s execution of sequences is stylish, but the content is substandard. The special effects are well executed, but are absolutely out of place in a story like this.

As an actor, Kamal Haasan dominates the show. He is better in the role of Abhay. Raveena Tandon looks pretty, but that’s about it. Manisha Koirala is wasted in an insignificant role.

On the whole, ABHAY has nothing to offer to the masses or the classes. Poor.

Abhay 1 Taran Adarsh 20011114

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