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Dangerous Ishq review: Karisma's show all the way

Dangerous Ishq
Vikram Bhatt
Karisma Kapoor, Rajniesh Duggall, Jimmy Sheirgill, Divya Dutta, Ruslaan Mumtaz, Aarya Babbar, Gracy Singh, Samir Kochhar
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The film begins with supermodel Sanjana  (Karisma Kapoor) off to Paris on a year-long contract. The boyfriend hangs around with a morose face. On her way to the airport, Sanjana is mesmerized by a Krishna idol and turns back as if guided by instinct.   

The boyfriend Rohan (Rajneesh Duggal) is thrilled and the couple decides to get married. But their plans are thwarted by a sudden attack at the house after which Rohan is kidnapped. The big guns seem to be involved; you know the ones that have Mittal and Thakral as their surnames. And hot on the chase is a dapper ACP, dressed constantly in formal jackets (Jimmy Shergill).

The film then trails Sanjana as she hears queer voices and ‘sees’ scenes from what appears to be her past life. There are other bizarre incidents like her beginning to read Urdu effortlessly.  After regressing into her past life through a professional session, she realizes that this is the result of an unresolved love story from several births before.

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At first, Sanjana reaches her earlier births where circumstances keep tearing the two lovers apart. But finally she is able to witness her life, 500 years ago, where the problem started. This 16th century regression reveals a love triangle where on one side is the villain armed with black magic, and on the other hand is a Krishna vardan (boon).

Vikram Bhatt (Haunted 3D, Shaapit, 1920) serves up a film that explores an interesting core concept. The topic of past life and rebirths evokes strong debates, and the story goes as far as suggesting that a problem in this life could be the residual of a past birth. It also suggests that one’s soul, having remembered past life mistakes, tries to warn you in the form of instincts. This makes the story, traversing centuries, a highly arresting one at a core concept level.

Bhatt gets it right for the most part. The film is shot aesthetically. The styling and set decoration as the film time travels into the past, are competent. There are uncomfortable scenes like the partition portion where Sanjana, in another birth, has to lie between dead bodies to escape. The screenplay dexterously flits between the various time-frames. The stereoscopic 3D format, while not indispensable to the film,  adds to the fun.

Where the film tethers, is in the story’s culmination. The ‘twist’ in the end is evident right away. And the finale is a mess.

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Then you have leading lady Karisma Kapoor in monstrous heels at all times. Heck, she even runs, chases, shoots and assists the frazzled cops in those err…unreasonable shoes. Yes that’s odd, even if her character is that of a professional model.

The boyfriend’s character hasn’t been fleshed out at all. It is the same partial treatment usually meted out to the heroine’s character in most films. And the fact that Rajneesh Duggal plays it without much enthusiasm or expression, makes it worse.

This is touted as Karisma’s comeback film and she makes a fitting return. The film revolves around her character, and despite the fact that Karisma is a tad deadpan in some portions, she manages to shoulder the film. Looking like a million bucks, and with her trademark earnestness, she manages to humanize Sanjana and makes her ‘woo-woo’ experiences credible.

Don’t expect depth and you won’t be disappointed. Worth a watch for Karisma’s earnest performance and the unique story.

Rating: Two and a half stars                                                                                                           


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