Cast-Nana Patekr , John Abraham , Sameera Reddy , Sonali Kulkarni , Priyanka Chopra
Director-Milan Lutharia
I went into this film with absolutely no idea of what I was to expect. Normally these movies are heavily advertised, with plot lines that are easily desiphered from the title. Othertimes I feel like i’ve seen entire movies from the half hour previews that they seem compelled to show in movie theatres. I was with a group of friends on this particular viewing, and after sat down in the ridiculously cramped seating with minimal expectations .But the outcome took me by surprise!
Story
The film tells us the story of two men whose nature are in contrast...
Raghav Shastri (Nana Patekar), an Insurance Salesman to the world, but a caustic, instinctively witty cabbie in reality, who needs thirty thousand rupees by the end of today...He has changed 23 jobs in the last 15 years.
And Jai Mittal (John Abraham), the equally acidic heir to a resourceful business family, who needs a bit more. Three hundred crores actually. Also by the end of the day.
It is also a crucial day for Raghu. He desperately needs Rs. 30, 000/- by the end of the day to pay off his debts.
Jai needs to contest his father’s will in court.. and Raghu’s cab to get there.
Raghu needs every rich sucker he can get as passenger.....
On his way to the court to claim money, Jai takes Raghu’s taxi. But it won’t be just another smooth, paid-for ride.
What begins as a simple cab journey takes unexpected turns. Jai’s life is in danger. Raghu is arrested by the police. What happens next?
Critical analysis
At first glance, Taxi no 9211 might easily be mistaken for a thriller. Certainly, the previews make it look like one, and there’s no denying that a few of the trappings of the genre are present. But there are no shootings, no car chases, and no explosions. Traditional action moments are few and far between with focus being on witty liners . Those who go to Taxi no 9211 expecting to see a thriller will probably be moderately entertained; those who look for more will find that there are greater rewards to be had.
The intriguing aspect of film is that both Nana and John are basically average guys caught in an extreme situation. In other circumstances, while they might not be friends, they would never be at each other’s throats. Yet events drive Nana- a seemingly ruthless taxi driver but a good-hearted man - to turn into an uncontrolled lunatic, while John reflects on his misdeeds with growing disbelief:night clubs , girls and money ... Yet, in being brought to the edge, these men recognize things about themselves that they might otherwise not have understood.
The film is a classic example of how casting against type can sometimes result in a remarkable success. Here we have John, who has spent the majority of his career playing the good-looking, likeable, action/romantic lead, placed into the role of a cynic .Then there’s Nana, who plays a low-key, meek cab driver caught in a web spun by a capricious whim of fate. And, despite being so far from their respective, familiar acting backyards, both of these performers pull it off with amazing chemistry.
Although it has a unique premise, Taxi no 9211 isn’t an original motion picture[inspired from Changing Lanes and collateral , partly]. It could have become monotonous, but it has come out with many flavours.But the strength of the lead performances and the stylish direction of Milan Lutharia obscure the weaknesses in plotting and credibility..
The tension is well played, especially a great sequence in a road track [interval point] when Nana tries to take the life of John and the music though unremarkable does add to the film’s feel.
Taxi no 9211 is more compelling because of the interaction between John and Nana . The screenplay seems smarter than it actually is. Acting and atmosphere define the film, but the bottom line is that there are times when style can become substance, and this is one of them. The performances by leading cast are the highlights, and Milan’s direction assures that boredom and disinterest will stay at bay.
More importantly , the film’s heart is in the right place and it’s unusual that we see a Bollywood film with such a perfect treatment at it’s core. On the flip side, the characters are inconsistent and confusing in their actions and motivations, especially John’s character. This guy goes from doing something that’s really awful to feeling really bad about it – but his sudden change of heart in climax when he tears those property paper looks abrupt!
Songs are fair. Ek Nazar which comes at the start and end sets the pace off for the movie. The rap number at the end is a treat for the viewers with its MTV feel and look! Cinematography is outstanding. The visuals of Mumbai look mesmerizing and one can’t help but fall in love with the locales. Overall, the film bears a slick look.
Performances
To put it simply and easily Nana Patekar is the movies lifeline! THE theme would’ve fallen flat if it wasn’t for Nana Patekars terrific performance holding the entire movie together. He even pokes fun at image himself and his one liners are clapworthy ’’ meri blood group k hain yaani Kutta!i’’.
John is fantastic. Since a splendid debut in Jism, the actor hasn’t been able to impress much with the exception of Viruddh and ZindaA. TAXI ranks as one of his best performances to date. The actor seems totally comfortable in front of the camera and oozes confidence. His voice modulation has improved as well and his looks merge well in the film. Sonali Kulkarni is a sceene stealer .Sameera Redyy is passable .Priyanka Chopra takes the viwere by suprise with an apperance in climax.
Conclusion
It doesn’t break new ground but It’s as clean and contemporary as a high budget thriller could possibly be. Even at 120 minutes, the film never slows down and feels about the right length , most of that is thanks to the performances of the two leads.
Highly recommended!