But he also gets many dialogues which he blurts out dutifully, for our delectation. Just in case she’s forgotten this crucial fact.Īnd Emraan Hashmi, whom I find underrated because he can do more, is saddled with sharp suits and first class flights and faithful assistants, and not much more. No wonder the poor man is left mumbling and stumbling, breaking off occasionally to threaten Vidya Balan with this priceless line: ‘pati hoon main tera’. Rajkummar Rao could have made something of his unfortunate trying to grapple with a situation not of his making, but he is given the worst strand, which takes him to Maoist-insurgency laden jungles, and incarcerates him in cells. She tries hard, her eyes swimming frequently, but drowns in such lines as these: ‘main kisi aur ki miliqiyat hoon.’ ‘Miliqiyat’? Seriously? In 2015? This is the kind of part–a woman ricocheting between a brutish husband, a noble lover, and a son –that Vidya Balan could have aced. Characters are arrayed against static backdrops, and made to spout the kind of dialogue which remind you of creaky yesteryear movies best forgotten. Jerky, stagey sequences are piled upon each other. And that can be put down to the terrible writing.
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