In this fast-changing scenario, the concept of
Hindi films has undergone a radical change. If
HAWAS, MURDER and AITRAAZ spoke of married women
cheating on their husbands behind their back,
AKSAR goes a step further: In this film, the
wife blatantly cheats on her husband right in
front of his eyes. Piping hot concept, isn't it?
AKSAR, directed by Ananth Narayan Mahadevan,
takes a look at relationships. The story isn't
about two men fighting for a woman. This one has
a complex theme. In terms of storyline, AKSAR
does push the envelope, but the question is,
will the orthodox Indian moviegoer digest the
AKSAR has an out of the box kind of a plot: A
millionaire hiring a casanova to have an affair
with his wife, the millionaire-husband then
catching the wife red-handed in an
uncompromising position in the bedroom, the wife
not regretting her decisionů the concept, though
bold, is extremely modern for the Indian
But the biggest flaw lies in the penultimate
reels, which can be guessed after a point and
most importantly, the cat-n-mouse game is hardly
the type that would appeal to a viewer. In fact,
it wouldn't be wrong to state that the ending
cannot be deciphered easily.
At best, AKSAR has lilting music [Himesh
Reshammiya] and individualistic sequences as
highs, but the lows outweigh, overshadow and
outnumber the plusses completely.
Ricky [Emraan Hashmi] is a leading fashion
photographer, who carries his heart on his
sleeve. He's an absolute womanizer. The film
begins with Ricky getting a call from Sheena [Udita
Goswami], who asks him to meet her in a gym.
Once there, the two have a showdown since Ricky
had used and dumped Sheena's friend Nisha [Tara
Sharma]. A heartbroken Nisha had even
contemplated attempting suicide.
Three years later, Ricky is about to hold an
exhibition of his creations, when a millionaire
walks in and buys the entire lot even before the
exposition has begun. The millionaire, Rajveer
aka Raj [Dino Morea], has a pre-condition: Ricky
should make Raj's wife Sheena fall in love with
him [Ricky]. Ricky is perplexed, for he fails to
understand why a husband would hire someone to
have an affair with his wife. But Raj explains
that he wants Sheena to divorce him and this
would be possible only when she falls in love
with another man.
Ricky flies to London -- that's where Raj and
Sheena live in a splendid mansion -- and starts
playing his cards. Sheena detests the presence
of Ricky at first, but the hatred transforms
into love gradually.
The plan seems to be working perfect. Raj
catches Ricky and Sheena red-handed, but instead
of regretting her decision, she hits back at Raj:
If he can have extra-marital affairs, so can
she. Raj is stunned, he feels his game plan has
Realizing that Sheena wouldn't divorce him, Raj
turns to Ricky, tells him to pack his bags and
return to India. But now Ricky does a
somersault. He's enjoying using a rich woman and
staying in the lap of luxury. Raj is stunned
again. It's a clear case of double crossing...
Mix UNFAITHFUL and INDECENT PROPOSAL, add a dash
of Bollywood masala, shake it, stir it
and the plot of AKSAR is ready. Yet, despite the
inspirations, it must be noted that the plot of
the film does seems inventive. But, to be
honest, a subject like this has its limitations.
Director Ananth Narayan Mahadevan unfolds the
plot gradually. The story actually gathers
momentum when Emraan accepts the proposal and
arrives in London. The twist in the tale --
Udita refusing to divorce Dino -- only raises
the expectations of a better second half. The
post-interval portions also start well and with
another twist in the tale [one of the characters
is murdered], you only wait for a nail-biting,
nerve-racking finish. But the climax, although
novel, is just not happening for the aforesaid
From the scripting point of view, the fault lies
in the pre-climax. The hidden camera bit looks
contrived/false mainly because the camera is
concealed behind a wall. If the camera was
hidden behind a wall all through, how could it
capture the entire murder episode with such
clarity? The hidden camera plays a crucial role
in turning the tables, so the end should've been
After handling light entertainers [DIL VIL PYAR
VYAR, DIL MAANGE MORE], director Ananth Narayan
Mahadevan explores a new genre this time:
Thriller/suspense saga. To Ananth's credit, the
director has handled a few sequences deftly
[especially the pre-interval portion], but the
impact a thriller ought to make is missing,
partly because the climax is a downer. Also, the
story unfolds at a lethargic pace all through.
Himesh Reshammiya's music is a scoring point. 'Jhalak
Dikhlaja' and 'Lagi Lagi Lagi' are chartbusters
already and the two songs only accentuate the
goings-on. But the placement of the Himesh
Reshammiya track in the end ['Mohabbat Ki
Guzarish'] doesn't serve any purpose.
Cinematography is of standard; the locales of
London give the film a visually stunning look.
Dialogues are witty at places.
AKSAR revolves around three characters, but if
there's anyone who stands out at the end of the
day it's Udita Goswami. She may not be a great
actor, but she nevertheless drives the movie
with conviction. The generous display of skin
show only makes her a favorite.
Emraan Hashmi is efficient, but the problem is
he's getting repetitive. Right from MURDER,
AASHIQ BANAYA AAPNE to the recent JAWANI DIWANI,
the skirt chaser-serial kisser bit is getting
too much. Dino Morea looks suave, acts ably, but
needs to work hard on dialogue delivery. Tara
Sharma doesn't get much scope. Rajat Bedi is
adequate. Suresh Menon is okay.
On the whole, AKSAR has hit music as its trump
card, but a difficult-to-absorb theme and
lackluster screenplay will only go against it.
At the box-office, this one's a disappointment!