Genius does what it must. Talent does what it can.
To bracket Ram Gopal Verma into either of those categories is an impossible task. He clearly defies traditional values and the word “stereotype” just doesn’t exist in his dictionary.
After having done a superb job on “Company” last year, RGV returns to spin his tales with “Bhoot”, a thriller in the supernatural format. For all the hype that preceded its release, I had consciously avoided reading any reviews, both on MS and in newspapers/magazines, lest the “Bhoot” be let out of the bag. Now that I’ve watched it, I can confidently aver that this is one of the best Bollywood productions, ever. I’m sure Ashish (can picture him grinning wickedly as he reads this) will agree with me on that count.
If this movie was a gymnast, I would have awarded it 9.785 out of 10 because it’s a near perfect film in all aspects. Right from RGV’s cheeky disclaimer clause before the credits start rolling, that he doesn’t believe in spooky elements but his only intention is to SCARE the viewers, till the final shot that’s clouded in darkness, each and every aspect has been brilliantly implemented. Except for a script that suffers from occasional bouts of languidity towards the end, there’s nothing else to point a finger at for the critics.
Vishal (Ajay Devgan) and his wife Swati (Urmila) move into a new residence in the 12th floor of a high-rise building. The duplex apartment seems just perfect for the cozy twosome until Swati finds out, barely 15 minutes into the movie, that the previous occupant had died by jumping off the terrace. Not that the couple are unduly bothered about it. They are both well educated, progressive in their outlook and ghosts and ghouls are the last things on their minds.
The tension till this point is well built up, more through the background music, eerie camera shots, a creaking lift, a perverted watchman and a stuffed toy on the loft. RGV pours it on but keeps the hapless audience, clearly expecting something terrible to happen at any moment, at bay. RGV fools the audience by not doing the right thing at the right time. Its only when the audience let down their guard that the “Bhoot” is first introduced. It happens so casually and unexpectedly (even the background score is mute) that the gentleman in the seat next to me actually jumped out of his seat in shock.
In the meantime, Swati begins seeing the ghost at all times and even begins sleepwalking. This prompts Vishal to take her to consult a psychiatrist (Victor Banerjee). The building watchman is killed in a gut-spilling manner that causes some repulsion among the spectators. Those who haven’t watched the movie yet will lynch me if I disclose anything more.
Technical Gloss
RGV ranks right there at the top when it comes to technical wizardry. He is one of the few home-grown directors (along with Manirathnam, Priyadarshan, Raj Kumar Santoshi and the late Mukul Anand) who are comparable with internationally renowned directors. More than the story and screenplay, it is the other aspects like sound design, background score and cinematography that successfully heighten the proceedings in a spooky movie.
Dwarak Warrier (sound design) does a terrific job particularly with reference to a creaking lift and the irritating doorbell. Debutants, Salim & Suleiman come out trumps in their first assignment with a brand of background score associated more with Alfred Hitchcock. Cinematographer Vishal Sinha does a commendable job and does amazing things with his camera. In particular, the claustrophobic angles (atop the lift, from the steps of the duplex, etc.) are too good. He pours so much life into the inanimate things like the stuffed toy, the watchman’s chair and the wall mirror in the hall that the audience can’t be faulted for consciously dreading these objects.
Performances
Ajay Devgan shows his versatility, yet again, in a role that’s tailor made for him. Seema Biswas, Rekha, Tanuja, Nana Patekar, Fardeen Khan and Victor Banerjee all have small though thematically important roles. The scene-stealer is Urmila in an utterly convincing performance, perhaps the best of her career so far. It’s refreshing to see so many distinguished actors get an almost equal footage and if the movie clicks at the box office, it will help in shattering the myth that one can’t make a hit movie with so many bigwigs.
Thus Spake TiC
This is a different movie in more ways than one. RGV discards many of the time-tested formulas while making an engrossing movie. There is no separate comedy track, no songs, no steamy scenes nor any “revealations” by Urmila. Though RGV made a spooky movie “Raatri” in Telugu (“Raat” in Hindi) earlier, it was faulty on many counts despite a terrific performance from Revathi. This time around, he’s done his homework well and more importantly, implemented it to the proverbial T.
The style of narration is completely different from what the Indian audience is used to – The Ramsay brothers style. Hooting owls, ghouls with disheveled hair and long, protruding nails, black cats with cat eyes (lol), dancing skeletons in graveyards – RGV proves that one can make a spooky movie without incorporating any of these ghoulish insinuations.
Did I like the movie? Like hell I did! Notwithstanding the fact that I’m largely biased towards RGV and his films because he’s a co-gult, I love his style of making movies. He’s a daring director who’s not afraid to experiment with offbeat themes and in the process, creates new genres. If RGV’s intention, as he announces at the outset, was to scare the viewers, he’s done a great job of it because I sure was.
As for bracketing RGV, I’d call him an Indi-Genius Talent ;-)