Nirbaak has some great camerawork and the background score, too, doesn't meddle with the visuals and a tribute to Salvador Dali! Don't believe it? Go, watch the film.
It's a medley of four tales of silent love, involving one woman (Sushmita), three men (Anjan, Jisshu and Ritwick), a tree and a dog
is a numbing experience. It kind of stuns you into silence. How can someone brew up such a heady concoction of unbridled imagination and unbelievable tales and dish it out to an unsuspecting audience? Not fair.
That's not to say it is bad cinema. It boasts of some excellent camerawork, crisp editing, good background score, fine samples of acting, two decent stories and a truly beautiful sutradhaar (Sushmita). But that's about it. The rest of it just hovers a few feet above the average head-line in the theatre, bounces off the nirbaak walls and fades into silence.
The film starts on a rather good note, with Anjan Dutt playing a hyper-narcissistic loner to perfection. But, somehow, he fails to become the character. His Bow Barracks-black-shades-suede-shoes-summer-coat identity hangs heavily in the air all through his act. Result: we just see Anjan Dutt French kissing his mirror image, emptying a whole can of deo on himself and even masturbating on bed, fantasizing about... yes, Anjan Dutt. A little tweaking with his done-to-death signature wardrobe would have made a big difference.
Then comes the shocking story of a tree in love — a tree that fantasizes about Sushmita dancing and seems to have an orgasm watching her sleep on a bench under it. Really? The other two stories are much gentler on your gastric juices, but the abrupt ends to all four tales kind of grate on one's nerves, especially the constant strain on different body systems. Why put a rather normal woman among a set of rather unnerving characters, each tottering on the verge of insanity? For instance, Ritwick whiles away minutes gazing lovingly at a frozen corpse and even brushing its hair. The only two normal characters in the scheme of things — Sushmita and Jisshu — are, again, on a short leash when it comes to displaying their acting prowess. Except for a short burst of passion and a snappy display of anger, Jisshu hardly gets any scope to act to his potential. Same goes for his onscreen ladylove, Sushmita.
Nirbaak has some great camerawork and the background score, too, doesn't meddle with the visuals. Yes, there are a few goof-ups, like the shot after a storm that ravages the 'tree in love'. It's apparent that the broken branches have been sourced from somewhere else. After all, a storm can break branches, but it cannot strip off every leaf. Nor can it turn the branches dry. A dog can push down the handle of a car door to open it. But modern luxury sedans don't have push handles. Can a dog really pull a small semi-concealed latch to open the car door? But the pertinent question is, can a tree have an orgasm? A scene seemed to suggest just that. And all this is a tribute to Salvador Dali! Don't believe it? Go, watch the film.