Apaharan

Prakash Jha after the memorable GANGAAJAL made APARAHAN

The film is a nice take on kidnapping which hasn't been seen before on screen in such a way

The best part being the film keeps you involved throughout Ajay's characterization is well handled the problems he faces are so real to life

The first half is a bit slow but manages to keep your interest alive Nana's scenes are pure magic and Ajay-Nana's first scene together is nothing short of great

The second half focuses on how Ajay changes and becomes a person of Nana's group, this part is too filmy though but yet it's believably handled

Even the climax though clichéd is well handled

Direction by Prakash Jha is awesome Music(only 1 song) suits the theme Background music is apt

Amongst actors Nana proves yet again why he is one of the best actors, he acts the character so perfectly and gives an understated performance Ajay Devgan too excels in his part, people may say that it's the same kinda acting but i don't agree with that He suits the role and is a complete natural In fact I would like to see Ajay in such a role more Bipasha in a small role is okay Amongst rest Mukesh Tiwari another person who is doing nonsense nowdays is excellent in this film, In fact Ajay and Tiwari in ZAMEEN, GANGAAJAL played opp roles then in this(in Gangaajal and ZAMEEN Ajay played the good guy and Mukesh the grey shaded guy here it's the opposite) Dr. Mohan Agashe excels in his role while Anup Soni is adequate Yashpal Sharma repeats his goon act

In a different way though.

While "Gangajal" was graphic, "Apaharan" is slick. It moves at a fast pace throughout and rarely breaks its rhythm. All the actors deliver impressive performances. But it's Nana Patekar who steals the show in this one. The usual loudness is gone and replaced by composure. Nana was always a fine actor, but in the recent years has lost his way. In "Apaharan," he finds his groove again. Welcome back, Nana.

The movie is about the thriving kidnapping industry in Bihar, Jha's home state. The passion Jha has for his besieged land shows clearly throughout the film. Although we have been numbed by the tales of corruption told earlier, "Apaharan" still manages to shock us. Bihar was always a backward state, but 15 years of Laloo rule has turned it into a surreal world, full of scheming gangsters and unscrupulous politicians who sometimes seem to have forgotten why they ever started this ghastly game in the first place.

The climax is predictable but leaves us something to cheer about. A must see.

Apharan is a story set against the milieu of Kidnapping, which is a booming industry in Bihar, India. The writer and director Prakash Jha has tactfully captured the pulse of the crime city and translated it realistically and most effectively in the movie. The business of kidnapping is so mechanized that even the smallest part of the machinery, which is a 'pan wallah' performs his part in crime with precision. From a middleman to a police officer, to a high profiled politician behind the crime, kidnapping is the name of the game everyone likes to play for high cuts and speedy gains. The protests are curbed, lives are taken without a thought and the city is on the one-way road to becoming a 'jungle-raj', where the whole process of raising voice for the victim and the protector assuring them of solving crimes, is nothing but a facade. It is difficult not to feel revulsion and empathy at the same time for the generation that is fast becoming the victim and perpetrator of such racket. Apharan is also a story of a complex father-son relationship that falls out because both see each other as the culprit to the ideals and values they hold high. There are no black and whites when one views their relationship from outside, but the director in Prakash Jha chose to conclude the story where the poetic justice must be met. This however, leash the creative genius what the film was capable of becoming. It's a great film nevertheless, and a must watch for Nana Patekar's fans that would like to see him in the same element as the thespian was in Parinda. Prakash Jha after Gangajal has again managed to extract simply breathtaking performance by Ajay Devgan as Ajay Shastri who once dreamt of becoming a police officer. He refused to live like a failure and switched lanes that only led him to the path of success, power and eventually self-destruction. The item number in Apharan is quite weak compared to 'Babuji Zara Dheere Chalo', which shot model Yana Gupta to instant fame in Gangajal. Because of a herd of characters that are not all essential to the plot, film loses its pace after the interval. The climax could certainly have been more heroic. Actors Mukesh Tiwari in the role of honest police officer Anwar Khan and Yashpal Sharma as Tabrez Alam's (Nana Patekar) key kidnapper who operates from jail, are simply brilliant and actors to watch out for. Mohan Agashe, Ayub Khan, Murali Sharma, Mukul Nag and Ehsaan Khan also did justice to their roles. Bipasha Basu as Megha Basu, playing Ajay's ladylove didn't come across very naturally, though her performance was satisfactory. Why watch Apharan? Because it's an undeniable eye-opener, boasts of realistic acting, effective cinematography, fitting premise and production, and has almost a flawless direction.

The Story: Ajay Shastri (Ajay Devgan) aspires for a job in the police force, which is his ticket to a future of power, respectability, social status and a secure life with his childhood sweetheart Megha (Bipasha Basu). And he hopes it will make his father (Mohan Agashe) proud too. Ajay is prepared to do anything to meet this end. Tragically, his desperate attempt at success is snapped by the choices made by his father. Dejected and disillusioned, Ajay is drawn into a dark world from which there is no return…Under the aegis of self-proclaimed minority political leader Tabrez Alam (Nana Patekar), Ajay soon tastes success and power.

What happens when power and ambition clash with ideals and values? Is there a way Ajay's repentance can lead to his redemption as well? Watch Apharan to find out!

This movie is really a good one....... after Gangajal, Prakash Jha again brought the truth prevailing in Bhiar on screen.... The movie makes u think what is going on in this heartbreaking corrupt political scenario........ acting showed the power of the actors for which they should be well rewarded............ This time the language was more towards physical rather than dialog delivery........ the power statements laid with eyes by Ajay Devgan & Nana Patekar impressed many....... this movie is surely gonna be hit at box office. i think Indians should go and watch this movie so that they get a view of what all can happen with power and money and especially in states like Bihar.....

This a very well-made picture from Mr Jha, who in the past directed Hip Hip Hurray, Damul and Gangajal among others.

Its set in Bihar where extortion and racketeering have become a way of life. The protagonist is forced into a life of crime after his father's principles come in the way of "buying into" the system. Unable to find a job, he joins the mafia kidnapping racket and becomes the henchman of political bigwigs, first the local MLA and later, the ministers who by then, have joined hands to form a ruling coalition. In the process, his love life goes astray, his father disowns him and he sinks lower into the dark abyss. The final confrontation brings closure to his estranged relationship with his dad as well as with his fate.

Re: acting, unlike what one poster said, Mohan Agashe did ample justice to the father's role. It called for deliberately understated acting and the late AMrish Puri could never have pulled off a sensitive portrayal of essentially a contented man, that although principled and devoutly Gandhian, isn't necessarily an *activist*. A professor who is ready to fight against injustice, he firmly believes the pen's mightier than the sword. Remaining cast also did a marvelous job including the one and only Nana Patekar. Ajay Devgan has starred in Jha films before and it seems like a successful partnership. Screenplay, dialogs and narrative are all top-notch. Jha belongs to that small group of Indian filmmakers who still make relevant and meaningful cinema. Without pandering to Western audiences a la Dipa Mehta or Mira Nair, selling sex like Ketan & co, or producing useless extravaganzas that no one cares about like the Bhasali dude, Mr Jha sticks to the point and drives home the bitter truth relentlessly.

There's some irony in this. What is his personal gain? And what are his creative desires? What do Indian filmmakers like Jha, Mahesh Manjrekar (Vaastav, Astitva), Madhur Bhandarkar (Chandni Bar, Page 3), Ashutosh Gowarikar (Swades, Lagaan) hope to achieve in that rotting sewer of an armpit called Bollywood? Do they make money on their films (doubtful)? They ostensibly are not in it for awards. Swades was a decent film if not flawless, that was sidelined by the Drollywood dodos in favor of the usual junk fare (read: you gotta kiss the behinds of many Hojars, Pochras, Tuddas, Haigs and other assorted yo-yos or you won't survive)

Realistically, 1 good film a year out of 100 is a good batting average for Bollywood....but "yeh dil mange more"!!