The Killer
There's no harm in adapting an English film in Hindi. After
all, every director has his/her way of interpreting a story. Moreover, there's a
strong possibility that a wide section of desi audiences may not have watched
the original/source, which means that the adapted version may come across as a
novel experience.
After attempting original concepts with flourish ZEHER, KALYUG, GANGSTER, Mahesh
and Mukesh Bhatt's current outing THE KILLER borrows the essence from acclaimed
director Michael Mann's Tom Cruise-Jamie Foxx thriller COLLATERAL 2004. The
story of a cabbie and a hit man and the series of murders that take place in one
night haven't been witnessed on Hindi screen before. That, sure, makes for an
interesting plot!
Besides an arresting plot, THE KILLER appeals, to a large extent, thanks to the
chemistry between Emraan Hashmi and Irrfan Khan. In fact, the cat-and-mouse game
they indulge in keeps you on the edge right till the penultimate reel. The
sequences between the two actors are the mainstay of this enterprise.
Unlike COLLATERAL, which got dark and depressing at times, debutante directors
Raksha Mistry and Hasnain Hyderabadwala have ensured that THE KILLER caters to
the Indian tastes. The conversations between Emraan and Irrfan could've veered
into a serious and gloomy alley, but thankfully turns out to be lively,
interesting, smart and packed with wit and humor. The director duo strikes a
fine balance between serious and funny, tense and comforting moments.
However, this shouldn't imply that THE KILLER is devoid of flaws. There are
hiccups, but the fast pacing and crisp editing camouflage the flaws in the
writing department. The impact in the end is what eventually matters, not the
speed breakers on the way!
Nikhil Emraan Hashmi is a cabbie in Dubai; he doesn't shy from going that extra
mile to earn those extra bucks. He plans to open a travel agency some day and
settle with the woman of his dreams, Rhea Nisha Kothari, a bar dancer by
profession.
Nikhil's life takes a turn when Vikram Irrfan Khan hires his cab for the entire
night. Vikram is no ordinary passenger. He is in Dubai with a mission -- to
eliminate five people in the course of one single night. Unaware of Vikram's
nefarious plans, Nikhil drives him around, drops him to a destination, picks him
up and moves on to the next destination.
But Nikhil soon realizes that he has been trapped and has to find a way out of
this misadventure. The more he tries to get out of it, the more Vikram traps
him. Nikhil begs, pleads, argues, retaliates, schemes? but to no avail as Vikram
doesn't have intentions of letting him free till his mission is accomplished.
Slowly, Nikhil starts transforming himself into a personality that could
counter-attack the man sitting on the rear seat.
THE KILLER catches your attention gradually. The initial portions between Emraan
and Nisha may give an impression that it's one of those routine love stories one
has witnessed unfailingly over the years. But the film changes tracks the moment
Irrfan enters the scene and hires the cab. From thereon, it's an unexpected
journey?
The drama intensifies when Irrfan commits the first murder, but it's the second
murder of underworld don Jabbar's henchman Musa and the dead body's crash
landing on Emraan's windshield that proves to be the turning point. The third
murder, of a ghazal singer, is skillfully executed, while the intermission point
Irrfan murdering Emraan's friend when he's about to call the cops is the right
way to end the first half of this 14-reeler.
The post-interval portions are largely captivating. The sequence at the
hospital, when Emraan and Irrfan call on Emraan's ailing mother Bharti Achrekar,
is interesting. But the sequence that deserves distinction marks is when Emraan
lands up at the don's Zakir Hussain mansion and the lengthy dialogue that ensues
thereafter. It's a brilliantly penned, executed and enacted sequence.
But the writing fumbles at places. For instance, when the CBI officer gets to
know that the murderer has already headed towards a club to eliminate the fourth
witness an Arab, why doesn't he warn the witness on phone? Ditto for the fifth
witness Nisha Kothari. Even the end, when Emraan rescues Nisha soon after her
dance, looks like a typical Hindi film setting, with the hero arriving at the
nick of time.
However, the end in the shopping mall, when Irrfan is keen to eliminate both
Emraan and Nisha, is nail-biting. It may not be the most original culmination to
the story, but it works because of the two actors, especially Irrfan's manic
behavior.
As first-timers, Raksha and Hasnain's direction is commendable. The duo has
handled a number of sequences with amazing maturity. Technically too, it's a
superior product. But they can and should improvise upon an area which is the
lifeline of every film: Screenplay.
Sajid-Wajid's music is pleasant, but definitely not in league with Bhatt
brothers' earlier films like RAAZ, MURDER and GANGSTER. Yet, in all fairness,
'Teri Yaadon Mein' and 'Dil Ko Churaya Tune Sanam' are melodious creations. 'Abhi
To Main Jawaan Hoon' caters to the hoi polloi; it's a raunchy track.
Cinematography is first-rate. The lensman has captured the beautiful locales of
Dubai with flourish. Dialogues, especially the banter between Emraan and Irrfan,
are exceptional.
Emraan is adequate in the initial portions, but comes in form when he starts
confronting Irrfan. He is admirable in the sequence with Zakir Hussain. Irrfan
is splendid all through. The eccentric character has been portrayed with gusto
by the actor. His dialogues, at places, will be greeted with a thunderous
applause. Especially his breaking into the song 'Zara Saamne To Aao Chhaliye' in
the mall climax.
Nisha Kothari doesn't get a chance to display histrionics, but exhibits her
anatomy nonetheless. She is sure to send the masses into raptures in the 'Abhi
To Main Jawaan Hoon' track. Zakir Hussain is powerful in that single scene.
Avtar Gill and Bharti Achrekar are satisfactory.
On the whole, THE KILLER is an absorbing fare that should appeal to lovers of
thrillers. At the box-office, its moderate pricing coupled with decent merits
should help the film sail safe.
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