Right Yaaa Wrong is hard to condone
The story is dumbed down and the treatment is uninteresting in Right Yaaa Wrong.
By: Sonia Chopra
Critic's Rating: 3/5
Saturday 13 March 2010
Right Yaaa Wrong is hard to condone
Sunny Deol, Irrfan Khan, Eesha Koppikhar, Aryan Vaid and Konkona Sen Sharma
It's wrong, you want to say. The film, its casting, the inherent message, the treatment. But what's right and wrong is subjective, the film insists; it's different for different people.
We meet top cop Ajay Shridhar (Sunny Deol, puffed up) married to Anshita (Eesha Koppikhar); in true Hindi film fashion the vast age gap between the couple is ignored. Naturally, there is zero chemistry between the two. Anshita, meanwhile, is having a red-hot affair with Ajay's stepbrother.
When Sunny is paralysed waist-down after an accident and asks Anshita to divorce him, she refuses. He then begs her to kill him, as he doesn't want a life spent on the wheelchair. When Anshita and her lover are found dead in Ajay's apartment and an insurance policy letter worth Rs Five crore is found, it is to be deciphered what really happened.
The story remains stagnant till the interval. Nothing moves even after the interval. Things start moving somewhat only when someone smells that the case is not going right. That would be Ajay's friend Vinay (Irrfan Khan, electric). So now Vinay spends days and nights sniffing for clues to the case, while his sister (Konkona Sen Sharma, deserving better) opposes him in the court.
The film turns into a courtroom drama reminding you of films in the past, where this was a finale staple. The lawyers mock each other, the witnesses are confused, and the judge shouts `order, order'. Wish the director had done the same.
To justify a murder through an emotional monologue in the end is unacceptable. If we were all to go around harming people that hurt us, justifying it with an ?it felt right to me?, it would make the world an unlivable place. It's a crazy concept, one that the film cheerfully advocates. On the other hand it takes the high-moralistic road with Ajay remembering the mangalsutra-tying in the marriage ceremony, their child being born, etcetera to the tune of religious chants displaying how the wife is breaking such a `sacred' union.
In a film that wants to say that right or wrong are subjective ? the wife's perspective is never explored (somewhat explored in Astitiva where the lonely wife finds love outside of marriage). The film is not fair in presenting the two sides, and therefore manipulates the viewer. Also manipulative is the kid popping up to prove what a great dad Ajay is; no mention of the fact that this ?great dad? can think of harming his kid's mother.
Writer-director Neeraj Pathak who has earlier written Apne and Pardes apart from directing a dud in 2008 (Gumnam), makes a film that's hard to like. The story is dumbed down and the treatment is uninteresting.
Acting is average: Sunny Deol is seen in stock expressions and is made to walk in slow-mo, with that orange crop of hair. Eesha is alright; Konkona is dependably good. But the few moments when the film comes alive is thanks to Irrfan Khan's superb rendering of his part stern-part comical character. The film is technically archaic. The dubbing is alarmingly bad. The sex scenes are crudely shot. The background score jumps out at you from nowhere.
What is right and wrong is an infinite subject, and yes, sometimes subjective. What is certainly wrong is taking up such a multifaceted subject and making a simplistic film out of it. Avoid.
Verdict: One star
Time pass comedy entertainer
Average comedy entertainer
Decent rural family entertainer
Soubin Shahir and Mamta Mohandas shine in this conventional film