Nazar Movie Review
When you take inspiration from two movies, there's a possibility that the end
product may turn out to be far more engaging and engrossing than the originals.
Or, perhaps, the new version might lack the impact of the originals.
Soni Razdan's directorial debut NAZAR can be divided into two parts…
The first half takes its inspiration from Irvin Kershner's Hollywood film EYES
OF LAURA MARS [starring Faye Dunaway, Tommy Lee Jones], considered by many to be
a classic, while the post-interval portions bear an uncanny resemblance to Pang
Brothers' Cantonese-Thai language film JIAN GUI [THE EYE, starring Angelica
Lee]. Incidentally, JIAN GUI [THE EYE] also happens to be the source of
inspiration for NAINA.
It's not blasphemous to get inspired by works that command respect, but this
desi adaptation called NAZAR is engaging in parts, not in totality. Soni and her
team of writers could've used far more imaginative tricks and dished out a fare
that keep you on tenterhooks all through.
But NAZAR can easily be compared to the sensex -- the graph of the film goes up
and down all the while. And when it comes to a close, the fulfilling experience
that a moviegoer ought to have is clearly missing. Yes, the identity of the
killer does come as a shock, but the motive that compels the killer to go on a
rampage isn't convincing enough.
At best, NAZAR remains an ordinary fare, with a few 'Boo' moments as its USP.
Divya [Meera] is a successful stage show artiste. However, she leads a secluded
life after her parents' demise. While driving back from her shoot one night, she
meets with an accident that turns her life upside down.
Divya is suddenly haunted by strange visions of unnerving murders that make her
believe that she is going over the edge. As the story unfolds, she meets Special
Investigating Officer Rohan [Ashmit Patel], who is uncovering a case of serial
killings of bar dancers.
Although Rohan's colleague [Koel Purie] refuses to buy Divya's story, terming it
as hallucination, Rohan believes in Divya and decides to pursue the case far
more vigorously. In the process, Rohan and Divya are attracted to each other and
gradually fall in love.
But the growing friendship between Rohan and Divya bothers Tarun [Aly Khan], a
doctor, who openly professes his feelings to Divya time and again.
NAZAR starts off brilliantly. The song at the very start of the film, filmed on
Meera in true MTV style, sets the mood for the whodunit. And the subsequent
sequence, when Meera 'interacts' with a victim on a secluded road, scares the
daylights out of you.
Things move briskly thereafter. Meera continues to get visions, she can actually
'see' a bar dancer getting murdered in a yard, another bar dancer is knifed to
death in the hospital… director Soni Razdan holds your finger and walks you
through to a world that most Indians would believe in, while a few may find it
surreal.
With everything well laid out in the first 30 minutes of the film, you expect
the narrative to get far more riveting as the mystery deepens. Unfortunately,
that doesn't happen!
The problem with the film lies clearly in its screenplay. Meera continues to get
visions and the murderer knows it all through about this [which the viewer
learns in the final reel]. But the murderer waits for the climax to strike and
eliminate Meera. Why not before? Why leave footprints behind?
Also, Meera can see the face of the victim, location of the murder, the weapon
being used to carry out the heinous crime, even the movements of the victim and
murderer, but why doesn't she see the face of the murderer? Why does she see it
only in the end?
The second flaw is the romantic track between Ashmit and Meera. In the
post-interval portions, Meera runs wild on that dark street where she first met
the lady who was murdered, but soon after this sequence comes a 'dream song',
with a skimpily dressed Meera and Ashmit dancing under a waterfall. This erotic
track [the title song] is well filmed, no doubt, but its placement is all wrong.
Who'd even think of romance when life is on the edge?
Even Ashmit Patel's flashback looks completely half-baked. His better-half had
been pushed to death by someone for reasons that remain unexplained to the
viewer all through.
The finale is another downer. Like mentioned above, the identity of the killer
does startle you, but the motive behind the killings is such an anti-climax. An
apt example of a screenplay of convenience!
Director Soni Razdan has handled the eerie moments efficiently, with some
supernatural moments making you chew your nails in anxiety, but she is letdown
by the writing. Also, the film moves at a leisurely pace in the post-interval
portions, which only harms the film.
NAZAR has four songs in all and in terms of tunes, the title track sounds
pleasing to the ears. The opening track is impressive too, but its filming
overpowers its tune. However, when compared to Vishesh Films' repertoire [AASHIQUI,
DIL HAI KE MAANTA NAHIN, SADAK, FAREB, CRIMINAL, KASOOR, RAAZ, MURDER, ZEHER],
the music of NAZAR doesn't live up to the track record. Cinematography is
patchy. The lighting in a few sequences could've been better.
NAZAR rests on Meera's shoulders and the Pakistani actor does impress you in
certain portions. She handles the scary moments with aplomb, but at places she
is strictly okay.
Ashmit Patel is functional. However, in his new avtaar [long hair], the actor
looks less of a cop and more like a ramp model. Koel Purie does very well. In
fact, her performance is highly consistent all through. Aly Khan is effective.
Vishwajeet Pradhan [as Meera's uncle], Avtar Gill [as head cop] and Bobby
Darling [as choreographer] are adequate. Padma Rani is excellent in that lone
scene. Neena Gupta [one song and subsequent sequence] is alright.
On the whole, NAZAR has a few scary moments to bank upon, but a weak screenplay
is its biggest undoing. At the box-office, it will face an uphill task!
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