Satisfy the newest avatar of Maa Kali! The fascist

by:Yourijiu     2020-07-23
The motivations for revenge in 'Hate Story' are not quite those that impelled the woman protagonist to rise up in arms in 'Mother India' or for instance in 'Bhavna', a film directed by 'Hate Story' maker Vikram Bhatt's father Pravin Bhatt, where Shabana Azmi killed her very own husband. Really, who needs a gun to get even if you have sex? Paoli doesn't give a damn if her bare back or flesh flash over the screen. She displays a healthy attitude of disdain for that camera, letting it swoop down on her vulture design, never allowing her vengeful character's hot journey to obtain sleazy, cheesy or lurid. The camera violates the woman's character's privacy with her consent. 'Hate Story' is really a tale that invites provocative measures of counter-argument. Once the protagonist Kaavya (Paoli Dam) gets right down to revenge, she spares no one, least of just about all herself. She announces she wants to be the sex worker, and thereafter, there's no looking back again. And quite a comely back it is. Paoli's Kaavya utilizes her physique to lure her enemy into the woman's trap. Director Vivek Agnihotri cuts into her journey of self-destructive vendetta just like a knife. The episodes sometimes stretch the limits associated with belief. But what the heck! No one is creating a statement here on the politically correct conduct from the Indian woman. In what can be regarded among the most defiantly unconventional debut performances, Paoli lets herself opt for the furious flow of her character's vendetta. The episodes hammer into each other with scarce room to breathe. The pace is dizzy the majority of the way. And when it slows down, you have the protagonist's vendetta is losing its steam. Steamy lovemaking scenes are strewn over the narrative's stricken landscape. The soundtrack suggests there's a good urgent tragedy nudging the hot content. The dialogues by Rohit Malhotra don't shy from telling it like it is. Vikram Bhatt's script is Sidney Sheldon territory. It doesn't shy from showing the heroine in an unflattering light. This really is new-age cinema with no room for conventional story devices or apologies for what the protagonist sets out to complete. If in 'The Dirty Picture', Vidya Balan wore her sexuality on her behalf sleeve, in 'Hate Story', Paoli uses her sexuality just like a favoured currency in the stock market. Mint-fresh as well as shock-proof, Paoli interprets her character with vigorous confidence. As her adversary Gulshan Devaiah (so watchable within 'Shaitan' and 'That Girl In Yellow Boots') careens in between rage and anguish quite effortlessly. 'Hate Story' isn't quite the tale of the simpering wronged woman we have been seeing in our films since the time Adam impregnated Event. 'Hate Story' pushes the envelope so hard, all of the contents spill out in a torrential tumble of tantalising power-play set inside the world of corporate battles and gender conflicts. This can be a most riveting and aesthetic saga of a woman's revenge from the man who's wronged her since R. K. Nayyar's 'Inteqaam' -- except for the truth that Paoli does things Sadhana in Nayyar's film might have never imagined.
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