First Bluffmaster. Then Rang De Basanti. Now Taxi Number 9211. Unique theme in Hindi cinema have become bolder and volatile. After Kache Dhaage [based on the life of two step brothers] , Chori Chori [a drab film] and Dewaar [a war saga], Milan Lutharia attempts Taxi Number 9211, thereby emphasizing on the fact that he’s ready to experiment with diverse genres. If Lutharia showed a flair for treading the uncharted path in Kache Dhage, but went wrong in CC and Dewaar, he gets it right in his fourth attempt, TAXI NUMBER 9211.
Nana Patekar plays a crabby cab-driver who’s so embarassed about the fact that he can’t make a success of his life, that he can’t even tell his family what he does for a living. He tells them he’s an Life Insurance Corporation (LIC) agent. Meanwhile, John Abraham plays a spoilt, rich yuppie whose multi-millionaire dad has just died, and has left his riches to his faithful manager instead of his wastrel son. One fateful day, John takes a ride in Nana’s cab and all hell breaks loose.
TAXI NUMBER 9211. is path-breaking cinema. In fact, TAXI NUMBER 9211. is too unique a fare as far as the script is concerned, but it’s lutharia’s execution that holds your interest at several points in the film.From the writing point of view, screenplay writers open the cards at the very outset. A confused cab diver, a young brat who has just lost his will, the rift between husband-wife... So much is packed in the first hour... The intermission point, when Nana and John have a huge confrontation, only raises the expectations from the second half.
While director handles the plot convincingly, the pace slows down time and again in this half. The slow pacing can still be overlooked thanks to the twists and turns in the story, which genuinely keep you involved.But The story becomes one of those routine masala potboilers in this half. From the chsase to the finale, the sequence of events that lead to the climax are plain mediocre. That nail-biting finish is clearly lacking here!
Lutharia takes two steps forward as a storyteller. He gets the grammar of film-making right this time, but the writers don’t match up to his enthusiasm. He has also filmed a few sequences with flourish. The birthday sequence for instance, when Nana bears his heart out, is well executed. Also, the sequences between John and Nana, from the time they meet to the spat at the interval point, remain with you.
Writers could’ve thought of a far more imaginative and innovative way to take the story to the finale. Music is in sync with the film and thankfully, the songs don’t pop up every fifteen minutes. ’Ajmalee’ and ’meter’ [, at the end credits] are tracks that come easy on your lips.Cinematography is of standard. Dialogues are fantastic. Editing could’ve been sharper.
Nana handles his role with amazing ease. John is getting better with every film. First ZINDA and now TAXI, he has evolved into a fine actor. Sameera is expressionless. Sonali Kulkarni is fantastic...
worth your moment.