MOVIE: Wazir Movie Review
CAST: Amitabh Bachchan, , Manav Kaul, Farhan Akhtar, Aditi Rao Hydari, John Abraham, Neil Nitin Mukesh
DIRECTOR: Bejoy Nambiar
GENRE: Thriller Movie
DURATION: 1 hour 44 minutes
STORY: Danish is pursuing Wazir, a professional killer connected to government official Qureshi who’s debilitating elderly chess expert Pandit Dhar – in this session of life and demise, who’s playing whom as a pawn?
REVIEW: So, Wazir is a keen film – which could have been way more astute. Hostile to Terrorism Squad (ATS) officer Daanish Ali (Farhan) loses his little girl while pursuing terrorists. His anguished spouse Roohana (Aditi) points the finger at Daanish, who’s going to execute himself in blame loaded distress. All of a sudden, he meets wheelchair-bound Pandit Omkar Nath Dhar (Amitabh), who shows Daanish about chess, life, love – and revenge. Panditji’s own heartbreaking story drives Daanish to research Welfare Minister Qureishi (Manav) – and after that pursuit him angrily when fierce professional killer Wazir (Neil) assaults Pandit Dhar.
Wazir is held together by Amitabh Bachchan who demonstrates why he is the Grandmaster of this diversion. With wily looks and timid grins, wry jokes and got away tears, Amitabh cuts a character, hypnotizing you as he does Daanish, ably played by Farhan who conveys force and tenderness. As pashmina-smooth government official Qureishi, Manav Kaul performs outstandingly, adding to the motion picture’s pressure, its creepy quality, its things that go blast oblivious.
With an excessive number of diversions – Aditi looks exquisite yet is obliged in a chiffon-clad part highlighting more moving than discoursed – the plot loses pace. There are excessively numerous kiddies, cupcakes and kathak cuts. At the point when the motion picture gets speed – activity arrangements in Delhi and Srinagar are awesome – you’re on a lumpy edge. In any case, when it over-entertains itself – its journalists and editors are the same – the amusement slips into stalemate.
It’s a compassion in light of the fact that Wazir’s lead exhibitions, its polished cinematography, its unpleasant sound configuration, function admirably. What this diversion required was more assault, less protection, not as much of reiteration, additional persistence.
As Panditji puts it, ‘Thora vitality hona chahiya.’
Steady inflexible centers over delicate wistful center would have let these shatranj ke khiladi explode that chess board. As it may be, they finished their diversion – however don’t registration astutely enough.