(The relay suggests she would have made it at normal speed.) Though Rai Bachchan proves a fierce courtroom presence, her agony at seeing her offspring spirited away is decidedly overstretched: witness her extended pre-intermission slo-mo charge towards the kidnappers’ SUV after her girl is spied in the backseat. Certain early scenes look very much as though they were drawn up solely so its producer-star can show off what supermarket-checkout magazines would describe as her toned post-baby figure: a spot of downward-dog on a harbour wall under the credits, running a poised relay leg at her daughter’s school sports day. There’s a certain clumsiness in setting all this up. Given that her latest client tries throttling her at their first meeting, accepting said appeal appears an obvious wrong turn – but then the law, in this conception, is a labyrinthine grey zone in which even those trying to do right will incur not inconsiderable collateral damage.
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Her shaky ethical code will be tested shortly thereafter when her young daughter is kidnapped by a gang who dispatch her to do their bidding: by getting one of their number, recently convicted of raping and murdering a student, off death row. One of Mumbai’s craftiest defence lawyers, La Bachchan’s Anu Verma is introduced engineering the disappearance of crucial evidence at a mobster’s extortion trial. An end-credit card highlighting Indian rape stats repositions Sanjay Gupta’s film as a critique of a system that needs to work harder itself. Every one of its characters – from the highest MP to the lowliest thug – is working the system. Granted, Hindi cinema’s usual maternal-love fetish is somewhere hereabouts, but it’s secondary to another concern: what happens when those with dirty hands let those they care about slip through their fingers. It’s to her credit, then, that she’s instead taken on Jazbaa, an appreciably pulpy remake of the 2007 Korean thriller Seven Days.
Shabana is flawless.A s Bollywood royalty, Aishwarya Rai Bachchan would have been forgiven for easing herself back in upon her return from maternity leave. Irrfan breezes past with clap-trap Kamlesh Pandey dialogues, such as -Mohabbat hai is liye jaane de raha hoon, zidd hoti toh baahon mein hoti. Once in the groove, her eyes breathe fire. Aishwarya is rusty at the start but eventually takes charge of the dual aspects of her character. The green hue overshadows Mumbai's skyline. Which is not to say that there are no flaws.
From screeching car sequences to emotionally-charged showdowns between his accomplished lead cast the film throbs. Gupta, known to be sounder with technique than story-telling (many of his films have been foreign inspirations), has got it right this time.
As Ash attempts to piece the jigsaw puzzle together, the film takes some sharp curves and ends in a nail-biting climax. Fingers now point in yet another direction. Into this mayhem comes a politician (Jackie Shroff), who is hiding a drug-addict son (Siddhant Kapoor).
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As she fills them in with details of the gruesome act, Ash is tormented that she is actually fighting to free an animal! However, her maternal instincts overpower all sense of right and wrong. They befriend her to learn more about her daughter’s rape and brutilisation. Together, they meet the young murdered victim’s mother (Shabana Azmi). He accompanies her on her mission to ferret out missed clues and check out alibis. Enters Inspector Yohan(Irrfan), a decorated but suspended police officer, whose heart beats for this lady-lawyer.