Categorized | Bollywood

Kill Dil: How could they miss the clues?

Really, didn’t they see it coming? No one, just about no one could see through the script? No one could dared to protest when the first 15-20 pages seemed like Gunday? No one objected when songs appeared in a story that could have done better with a Tarantino treatment? No one stood up to point out numerous corrections that could have been made in the characterisation? No one, just no one thought that with such a talent pool, Kill Dil deserved better? Just so much better!
Alas, one feels disappointed about the fact that Kill Dil turns out to be lesser than what it could have been. With a couple of contract killers (Ranveer Singh, Ali Zafar) on fire with an imaginatively done title sequence, which only takes a turn for the better with the unabashed baddie (Govinda) joining in as well, Shaad Ali gives a (picture) perfect (re)start to his film career after Jhoom Barabar Jhoom (2007). You like the set up instantly and though there are symptoms of abrupt play moments into Parineeti’s entry on the scene, you go by it due to loveable characters.
Naah, it just doesn’t make sense to see a Jaguar driving girl bring home a couple of absolute strangers for a mansion night out with friends without as much as a background check. Chalo, tgey saved her life but then days and weeks pass by without any Google or at least LinkedIn check. Chalo theek hai, there is something called cinematic liberty but then at least cinematically speaking, at least the characterisation could have been deeper.
Picture this – These two kids have been raised by their Bhaiyaaji but there is no single straight conversation where they establish t sense of gratitude, respect or fear from any angle on either ends. Govinda just demands and Ranveer just revolts. As for Ali, he tries to strike a balance a la Shashi Kapoor from Deewaar, or closer to the time line, Akhil Kapoor from Desi Kattey. Agar baat kar let toh problem shaayad jaldi solve ho jaati! But then they get into unpleasant conversations straight away – something that was the problem in Ranveer Singh – Arjun Kapoor relationship in Gunday as well!
Oh yes, the conflict is on the same lines too i.e. a woman coming into picture. However, and that’s the sad part, it just doesn’t play convincingly. Parineeti’s characterisation leaves a lot to be desired while the love story element just doesn’t work. That when half a dozen songs, none of them needed at all (except for the title sequence), only solve one purpose – increase the film’s length by 20-25 minutes.


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