Vishesh Entertainment Ltd.'s KASOOR, directed by
Vikram Bhatt, is a suspense thriller about
crime, punishment and passion.
KASOOR stars Lisa Ray as an attorney, Simran
Bhargav, who reluctantly takes on the case of
powerful publishing magnate, Shekhar Saxena (Aftab
Shivdasani), accused of committing the grisly
murders of his wife and maid.
Simran tells Shekhar that she'll defend him only
if she is convinced that he is innocent. Simran
is also battling her inner demons over a case in
which she got a man convicted for crime he had
not committed. Her guilt increases when she
learns that the innocent guy had committed
suicide in custody.
While representing Shekhar, whom she considers
innocent, Simran falls in love with him -- a
part of Shekhar's plan to win her trust. After
the court declares Shekhar innocent, Simran
spends the night at his house. The next morning,
while opening his closet, she finds a typewriter
hidden between sheets.
The significance of this typewriter is that
there have been typed, 'crank' letters sent to
her office, leaving little clues that point the
finger to the swimming coach (Vishwajeet Pradhan),
who had an affair with Shekhar's wife. The typed
letters all have a flyaway 't' on them.
Simran realises her fault and feels nauseated
and cheated. She hurriedly leaves, smuggling out
the typewriter, but is almost caught by Shekhar
as she is leaving. So what happens next? Another
Although the plot (writer: Mahesh Bhatt) is an
imitation of the Hollywood flick, Columbia
TriStar's JAGGED EDGE (starring Glenn Close,
Jeff Bridges), released in 1985, the Indianised
version is fairly captivating, although it does
have its share of gaffes and flaws.
To start with, the drama moves at a snail's pace
in the first half. In fact, the pace is so
sluggish that the viewer starts feeling fidgety.
The best part of the film is the courtroom drama
in the post-interval portions, which is
However, the typewriter bit before the climax
looks insipid. But the narration gains momentum
once again towards the final fifteen minutes.
The bloodcurdling end is well executed and sends
a chill down the spine.
Director Vikram Bhatt lays everything out for
you in a well organised and visually appealing
form, but the outcome, at places, makes one feel
that it is targeted at the gentry. The
director's contribution is evident in the
courtroom sequences and also towards the climax.
Nadeem-Shravan's music is an asset, although a
few numbers remind you of the songs they had
come up with in their hey days. Yet, the numbers
that stand out are 'Kitni Bechain Hoke', 'Jo
Meri Rooh Ko' and 'Dekha Jo Tumko'. Sameer's
lyrics deserve special mention. What's even more
heartening is that the songs are also well
Pravin Bhatt's cinematography is matchless and
the locales of Switzerland are a visual delight.
The background music (Daboo Malik) augments the
impact of numerous sequences. Dialogues (Girish
Dhamija) are of a superior quality.
KASOOR scores the most in that one important
department – performances. Credit for this must
go primarily to the two principal performers –
Aftab Shivdasani and Lisa Ray – who come up with
Aftab, as the suave publishing magnate, catches
you unaware with a performance that is
first-rate. His characterisation is dissimilar
from the one he essayed in his debut-making
venture MAST. His work should catapult him to
the league of genteel artists.
Lisa Ray's acting is life-like and her scenes in
the courtroom will win her approbation. Her
expressions towards the concluding reels are
also noteworthy. Apoorva Agnihotri does not get
much scope to perform, but he makes his presence
Ashutosh Rana is brilliant, while Irfan Khan is
natural. Divya Dutta, Sucheta Paushe and
Vishwajeet Pradhan are adequate.
On the whole, KASOOR is a polished film that
will appeal mainly to the gentry. Its business
in metros should be the best. Also, the shortage
of new releases in the coming weeks should prove
advantageous to an extent.