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Koi Jaane Na Review – Movies Rediff.com

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Koi Jaane Na Review – Movies Rediff.com

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The climax is what saves Koi Jaane Na out of sheer frustration, sighs Joginder Tuteya.

Beginning and the end Koi Jaane Na weird, really weird.

The hardcore commercial film is presented as philosophical in the first and last 10 minutes, for reasons best known to screenwriter and director Aamine Hadji.

In the midst of this protagonist, Kunal Kapoor is presented with a very bad prosthesis, trying to pass him off as a Sikh. Later, when the movie ends with a climax that somehow gets the movie back on track (more on that later), the weird credits list reappears, making you wonder why the team deliberately ended up in the art zone at the beginning and end when the subject matter is commercial.

Well, this is just one of many things that will make you exclaim. Koi Jaane Napun, in many places.

Let’s start with the fact that the first 30-40 minutes fly by unnoticed. The writer (Kapoor) deliberately does not write anything good to take revenge on his divorced wife (Vidya Malvada) who dispossessed him through alimony, and it is rumored that she also took his bungalow in Panchgani.

Suhana (Ameera Dastur) appears out of nowhere with no bag, no jacket, no PAN card sharing, and quickly finds herself a boyfriend. Heard about ‘Main to beghar hun, apne gar le chalo?

Indeed, if a hotel can hire someone like her even without a PAN card, I wonder what checks and balances they have when they check in their guests?

By ignoring this and instead getting frustrated with filming 1970s-style movies where the car scene is filmed on a static set with a screen behind the moving vehicle, so wondering out loud about the film’s production values, you move forward with the characters that emerge from mysterious person. Novel.

Trying to create Sin City the mood, albeit only for a minute, but unsuccessfully develops, even when you are hunting for history around. A dastardly blackmailer (Karim Haji), a drunken officer (Raj Zutshi), and a mysterious man (Atul Kulkarni) appear at regular intervals, but you’re still on the hunt for this elusive story.

Predictably, murders begin to occur, and while Ashwini Kalsekar is at least trying to lighten the mood, her threats “Kal thane mein aake statement de jaanaso pathetic that even the leading actors don’t take them seriously.

Instead, they take it upon themselves to figure out the origins of the murders, even as strange mannequins, cheap wigs, shady interior lighting, telltale newspaper clippings, and other such props pop up out of nowhere.

To everyone’s credit, they still look at it all with a deadpan expression, even as the cat practically yells “SOMETHING TERRIBLY WRONG WITH THIS HOUSEHOLD” from around the corner. Well, literally.

Fortunately, it is the climax that saves the film from complete disappointment. Kartik is calling Kartik Here again the mood is presented, the person responsible for all this was looking at you directly from the opening scene, and therefore there is no scary moment here.

However, to be fair, you go with the flow and leave aside the liberties taken with the narrative that could be passed off as a commercial film, at least there is something here that makes you play along.

Unfortunately, this is the only part of the film that attracts attention, and here Amin Haji also tries to kill the moment with a strange arrangement of the end credits.

Rediff Rating:

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