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Department

Depertment

Director :	Ram Gopal Verma
Music :	Dharam-Sandeep, Bappa Lahiri and Vikram Nagi
Lyrics :	Vayu, Shabbir Ahmed and Sandip Singh
Starring :	Amitabh Bachchan, Sanjay Dutt, Rana Daggupatti, Anjana Sukhani and Nathalia Kaur  'Ho Gaya Publicity' - This single moment of outburst by a don-on-the-downfall (Vijay Raaz) raises good enough chuckle during DEPARTMENT which otherwise hunts for such relief in an over two hour long affair that has an action sequence practically in every 10 minutes. That by the way is a tad too long to digest since one expects a dramatic outing from Ram Gopal Varma instead of a film which only has one action sequence after another. As for the 'Ho Gaya Publicity' stunt, it is a gem indeed from Vijay Raaz as he reprimands his small time gang members (Abhimanyu Singh, Madhu Shalini) from being overzealous in their approach to take on encounter cops (Sanjay Dutt, Rana Daggubati) who only end up raising further heat on them. The reason why Raaz is not-so-supportive of Abhimanyu-Madhu's misadventures is hinted towards the dying moments of the film (a good story angle, which sadly hasn't quite been nurtured to the fullest) but by then DEPARTMENT turns out to be an extended action affair that could have done with more such one liners and drama. What is interesting though is the character played by Amitabh Bachchan who never even aims at being menacing and while he neither borders on being the 'Babban' of RGV KI AAG nor the 'Subhash Nagre' of SARKAR, it is his mind games which one does remembers after DEPARTMENT is through. The problem though again lies in the exploitation of this episode as is the case with some genuine twists that are left only at the surface without being churned out to the fullest. There are at least a couple of superb turns that the film takes, both in the first and the second half of the film, but surprisingly Ramu adds such mundane scenes immediately after them that ends up diluting the impact that had just been created. However the film goes for a toss in the second half as it shifts towards Abhimanyu and Madhu. In particular, the chief culprit here is Abhimanyu who makes one wonder whether he is the same guy who came tops in GULAAL, RAKHT CHARITRA or that menacing cop in 'I Am'. In 'Department', he only ends up being a gangster spoof that just doesn't work. Another spoof is the very item number featuring Nathalia Kaur. Yes, Sanjay introduces it well as the item number it is supposed to be but if the journey around Nathalia's thighs and crotch was the idea behind it then well, a porn clip could have just done the trick.What works though is Rana Daggubati who stands out as the central protagonist of the film. Convincing and boasting of a good screen presence, Rana shows yet again that he could be the man for the job if put into a dramatic/action genre. On the other hand Sanjay Dutt looks disinterested and if one has to compare this with his last few movies then well, he seemed to have had much more fun even in RASCALS, leave aside AGNEEPATH. Anjana Sukhani, after being short-changed in her earlier multi-starrers like GOLMAAL 3, SALAAM-E-ISHQ, actually finds herself a part of the film from start to finish and does rather well. Technically speaking though, one has to give it to Ram Gopal Varma for not just attempting but going all out in making sure that not even a single frame of DEPARTMENT belongs to 'seen-that-done-before' style. However that turns to be bane rather than boon because it is this very technology that consumes him in his storytelling. The camera angles are definitely innovative but instead of being an experimentation towards the narrative, they turn out to be the very narrative that only ends up killing that impact that could have been created. While Ramu must have thought that it would be a good enough reason for majority to check out DEPARTMENT, it only threatens to be a definite put off for most. Add to that a pencil thin storyline on which it bases itself and there is a ticking bomb that ends up exploding on the face of everyone involved.

Arike

In crafting this lovely film, Shyamaprasad keeps clatter and clang at bay, and instead takes delight in gently unraveling the ultimate oddity that has had men and women dancing to its tunes for ages - love, that at times seems so near, and at others, so far.

Diamond Necklace

'Diamond Necklace' is a tender and hypnotically moving film, the serenity of which is quite deceptive. Underlying its silent sparkle is a fascinating tale, and the discerning viewer who can read between the lines, could unearth layers of meaning beneath its glint!

The glad news folks, is that Lal Jose is back, and how! A deeply moving, illuminating and inspirational drama on love and the sense of loss, 'Diamond Necklace' is the most profound film that the director has gifted us with, as yet.

Dr. Arun (Fahad Fazil) is one of those many youngsters based in Dubai, who has been for long, living beyond his means, awestruck by the sights and scenes that the magical city has on offer. The squanderer however has a way with women, and before long has the fresh nursing assistant Lekshmi (Gauthami Nair) dancing to his tunes.

In 'Diamond Necklace', there is an open-ended exploration of everything that could possibly go wrong in a youngster's life as well as the lives of those with whom he connects at different planes. It's ironic that Dr. Arun is repeatedly commented for the positivism that his demeanor generates and yet the tragedy in his life seems a bit too contagious, stealthily spreading across to those vying for his affection.

The three women in his life - Lekshmi, Maya (Samvrutha Sunil) and Rajasree (Anusree) - aren't women who suffer from an identity crisis. Nor are they perplexed individuals who aren't sure as to what they want from their lives. On the contrary all three of them share a commonality in that their personal journals would carry a story about love and the trauma of simply being in love.

I'm sure we might differ quite a bit here, but Maya does emerge the toughest one among the lot, living the moment and simply refusing to bow down before the plans that have already been laid out before her. Lekshmi is impressive for not having turned out into a vengeful demon at being spurned; she's poised in the face a calamity, and moves elegantly ahead picking up whatever is left in her life. And Rajasree retains the quintessential essence of being a woman, and turns out to be the most endearing among the three of them!

Lal Jose's take on relationships in the film is charming and occasionally insightful. It's on his individual characters that he banks on, to craft this delightful romantic tale of a man who has walked quite a long way along the path of self-destruction. In doing so, the director leaves in tact the labyrinthine emotions that come to play.

It's interesting to see a structural resilience emerging gradually out of the narrative that starts off quite modestly. Some very familiar ideas converge together to a cohesive whole, and the transformation makes you feel good. Its refreshing to see the film sidestepping stereotypes, and focusing instead on the deeply humanistic story that it intends to tell.

Perhaps for a brief while, the film does tend to get a bit didactic when there is an attempt to draw in a second layer of a moral fable beneath the main story, where Venu (Sreenivasan), a family friend of Arun's takes the lead. There are suggestions that love abounds when you are poor, and the multimillionaire patient in the cancer ward further emphasizes that it all comes down to a sick bed eventually.

This is a film that could easily brag of inspiring performances from its relatively fresh and young cast. Fahad is imposing as the oncologist who realizes a bit too late, that the malignancy within his mind has spread far and wide. Samvrutha delivers a career best perhaps, and as a bonus looks gorgeous! The surprise packets of the film however are Gauthami Nair and Anusree; the former having come up with a delightful performance that is at once controlled and striking, and the latter for her spontaneity that is downright astounding!

How could I complete writing this review, without mentioning Sameer Thahir, who is without doubt, one of the best cinematographers we have these days. And the result is that Diamond Necklace looks visually stunning whether it be out in the hot Dubai deserts, or in the cool confines of a studio flat. Hats off Sameer, for the visual elegance that you have brought to the piece. And of course to Vidyasagar for those lilting melodies, with 'Nilaamalare...' leading the lot.

'Diamond Necklace' is a tender and hypnotically moving film, the serenity of which is quite deceptive. Underlying its silent sparkle is a fascinating tale, and the discerning viewer who can read between the lines, could unearth layers of meaning beneath its glint!