The infamous 1959 Nanavati case had spawned a couple of early films, neither of which came close to the lurid excitement of the real- life incident which involved a handsome naval officer, his lovely-but-lonely wife, and her lover, and a sensational murder.
And yet both Yeh Raaste Hain Pyar Ke and Achanak bear a stronger allegiance to the Nanavati case than Akshay Kumar’s Rustom, which borrows the core idea, and then adds a layer of extra intrigue. The idea may have been to spice up an already spicy plot, but the result is dilution, and it doesn’t work in the favour of the film.
Each character is given dialogues to deliver: we know it is a ‘period’ film because the sets, the costumes and the locations scream attention(several look computer-generated), and the characters are made to declaim, not speak.