Director: Vikramaditya Motwane
At first look, it looked promising. The idea was revolutionary. The layout gave the feel of reality TV, an idea that probably arose from the makers of ‘The Blair Witch Project’. This is where the camera person is not stationary but will be running with the actors, how a paparazzi would chase its prey.
The characters used their original names, and it looked like the audience would have a peek into their private lives, which they did, to a certain extent.
Trouble brews when Anil Kapoor shares the stage with Anurag Kashyap during an interview. In the course of their conversation, Anil (an actor) and Anurag (a director, mostly) argue about whose role is crucial in the success of a movie. As they defend their respective stands, things start becoming personal. Anurag accuses Anil of being an ageing actor on his decline, while in retaliation, Anil downplays Anurag’s directorial skills and success in the film industry. It leads to a bust-up, much to the excitement of the media and the general public.
The public takes Anil Kapoor’s side. Anurag is treated like a pariah and struck off the inner circle. He is refused new projects, and the old ones are canceled. Anurag devises an elaborate plan to get himself in the limelight and rejuvenate what he perceives as Anil’s flaying career.
Anurag writes a script where Anil’s daughter is kidnapped. Whilst an irritated Anil tries to shed off the irritating Anurag, he soon realises that the whole set-up is not merely from a script but something more sinister. Anil had to rescue his daughter before sunrise, or she will die. The police cannot get involved, and he cannot get help from friends and relatives. All phone conversations must be on speaker. To top it all up, it is Christmas Eve and Anil’s birthday. He had to put up a straight face with his family. Throughout the debacle, Anurag and a camera woman were to follow Anil and tape his every move.
The movie progresses well with its meta approach to filmmaking. Although dealing with a serious subject matter, there is dark comedy all around. To keep it real, the film goes on to show performers having to kowtow to the tunes of their fans, sometimes dancing monkey acts just to keep them happy despite the inner dilemmas they were embroiled in, but it soon becomes draggy. As in most Bollywood offerings, the filmmakers also become guilty of overdramatisation. The movie ends in an unceremonious dull thud.
