Friday, 6 May, 2011


Why did so many people not like Dum Maro Dum?

The movie was refreshing, if the Dabaang kind of masala film works well because of its exaggerated, crude , over the top style that packs a punch, DMD works with the same masala in slick, stylish packaging and some brilliant editing. It takes a few minutes to get used to the pace of the film, just as in Bluffmaster and then not for a moment does the film lose its grip. It doesn’t keep you at the edge of your seat biting your nails; it keeps you entranced by the unfolding fatality of the actions of the characters. It keeps you mesmerized with it’s blue and red tinged scenes and Goa forever captured in the twilight zone. None of the garish drug overdose scenes, no cook , load, shoot and dilate sequences done to death. While most films dealing with drugs emphasize on the high, DMD personifies the drug itself. Into a stealthy, omnipresent and deadly seductress. It gives it a name.

Lori (Prateik) in a befuddled decision opts to smuggle drugs in his luggage just once with the promise of funded University education and a chance to be with his girlfriend in the U.S. Prateik’s acting is winsome as usual but one wishes his voice would break already.

ACP Vishnu Kamath( Abhishek) a reformed cop is the man on a mission to clean up Goa’s drug scene. He is haunted by a car crash caused by a junkie that killed his entire family. He is the weakest link acting wise lacking the intensity and emotion to carry what could have been a beautifully crafted role.

Zoey (Bipasha) is lured by ambition and opportunity to fly international skies if only she becomes a carrier for the first 5 times. Suffice to say, there never is a last high. This is the one film in which not only Bipasha’s diction but also acting is tolerable and she sure looks the part!

DJ Joki (Rana Duggbati )having already lost his girlfriend to drugs plays the noble crusader and takes upon himself the task of saving his friend entrapped by the drug mafia. Dugbatti is the icing on the cake. Slow to emerge in his role, he outshines every other performance in the film, cashing on the element of surprise that new actors provide.

Aditya Pancholi is like he always is, the annoyingly fair,tall bad guy.

Every character is given it’s swansong. One by one the drug trade picks it’s victims. It follows them, corners them , whispers to them, takes them in its heavy embrace and leaves them dead. Even fatality is alluring to the characters in the film.

Rohan Sippy always creates a lazy , easy intimacy between the couples, be it Abhishek and Priyanaka in Bluffmaster or Bipasha and Rana in DMD. The cinematography, like in Bluffmaster is clean and stylish spiralling from international hotspots of Goa, to it’s crowded markets and rave scenes. The music does not overpower the film and is almost forgettable but for a few haunting tracks like Jiye Kyun.

The story focuses not on the high of psychotropic substances but on the seductive, hazy drug world, of limitless opportunities. Sure some of the dialogues are clich├ęd, sure it is in no way a hard hitting investigation into the Goa drug mafia, yes the sequences of events are not credible. It is not stark like Requim for a Dream nor symbolic like Hare Rama Hare Krishna. But if you like the fiery Dabaang, you will like a masala of a different kind, a more subtle, cooling concoction.

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