Marjawan Review 3.5 / 5: Siddharth Malhotra

The outstanding box office performance of SATYAMEVA JAYATE was one of the success stories of 2018. This turned director Milan Milap Jhaveri into stardom and that too at a time when many people thought that his directing career was in trouble. Now the filmmaker is back with MARJAAVAAN, which seems to be a very commercial spice fare like its earlier flick. So does MARAAAVAAN manage to provide entertainment and entertainment to the audience? Or does it fail to entice? Let us analyze.

MARAAAVAAN is a story of unrequited love, set against the backdrop of Mumbai’s underbelly. In one of the poorer areas of Mumbai, Narayan Anna (Nassar) calls the shots. He has an army of men at his disposal and the most loyal of them is Raghu (Siddharth Malhotra). As an infant, she was abandoned and it was Narayan Anna who raised her. Raghu is loyal and devoted and always in the good books of Narayan Anna. As a result, Narayan’s son Vishnu (Ritesh Deshmukh), three feet, is jealous and stops Raghu. There is also a brothel in the said area where there is a naive girl Arzu (Rakul Preet Singh). He is in love with Raghu but later does not believe in this concept. This all changes when Raghu comes to Zoya (Tara Sutaria), a silent girl from Kashmir. She teaches him the power and importance of music and love. In no time the two fall for each other. One day things go smoothly, Zoya witnesses a murder committed by Vishnu. Vishnu informs Narayana Anna about this which in turn tells Raghu to eliminate Zoya! Raghu decides to have intercourse with Zoya but is caught by Vishnu’s men at the bus stand. In addition, Vishnu kidnaps two children – Timepass (Om Kanojiya) and Payal (Alina Kazi) – both train under Zoya. Narayan Anna then gives Raghu two options – eliminating Zoya and saving Timepass and Payal. Otherwise everyone will die. Zoya insists that Raghu kill her and Raghu reluctantly does so. Raghu is shattered as before and is arrested by ACP Ravi Yadav (Ravi Kishan). What happens next makes the rest of the film.

The story of Milap Milan Jhaveri is dated and is reminiscent of films seen in the 70s, 80s and 90s. Milap Milan Jhaveri’s screenplay sets the film in the same region. Some scenes are well written, but one wish it was consistent throughout the film. Milap Milan Jhaveri’s dialogues are quite upscale and some of them work very well and are worthy of clap.

Milap Milan Zaveri’s direction is decent given the style and location. Many people cannot draw such a film but the solder manages. Some scenes are well executed such as Vishnu’s entry, Tara and Raghu fall in love and in the second part, bringing Raghu back to the revenge zone is a fiendish motion. On the flipside, Vishnu’s character needed more menacing. Also, the film spoils in some places and becomes predictable as well. Some developments are not very convincing.

Marjawan: Public Review | First day first show | Siddharth Malhotra | Tara Sutaria | Ritesh Deshmukh

The debut of MARJAAVAAN is a bit weird. The execution is a bit weak and therefore takes a little time to get used to the setting and characters. In addition, the opening battle is widespread on another level and the audience may not be prepared for such a spice. Typically, commercial films are made in such a way that it can be liked by multiplex audiences as well. But MARJAAVAAN is an exception because its content does not appeal to the sensitivity of multiplex audiences. Some scenes seem unrelated. The way religious harmony is slightly presented looks a little forced. The timeout point is fine. The second half does not start on a great note and tends to drag on a bit. Ragha leaves to complete Raghu’s action. But the scene where he decides to fight back is when the film picks up again. The climax battle is predictable but also convenient.

Siddharth Malhotra tries his level best and he shines in some scenes. But his performance is slightly weaker overall. He really should have gone all out because that would have really helped. Ritesh Deshmukh also gives his best and his three feet height gives him a good edge. Sadly, he is somewhat disillusioned with the character’s writing. Tara Sutaria is lovely and makes her presence felt without a single dialogue. Rakul Preet Singh is credited in a special role, but she has a supporting part and looks very glamorous. His performance is decent. Nassar leaves a scar. Ravi Kishan is fine but his dialogue in the pre-climax about the police force will be completed with clap in theaters! Shad Randhawa (Mazhar) is cultured. Uday Nene (Gopi) and Godan Kumar (Shafi) are inactive. The same goes for Suhasini Mule. Nora Fatehi is burning like always.

The music is soulful and functional. ‘Tum Hi Aana’ The theme is song like and is well used. ‘Thodi Jagah’ Is touching ‘Kinna Sona’ Nothing is great. ‘Ek Toh Kum Zindagani’ Smoking is hot and ‘Hai ho’ Is in the same area. Sanjay Chaudhary’s background score adds a massive element, especially in Siddharth’s fight scenes.

Cinematography of Nigam Bomzan is appropriate. Priya Suhas’s production design is not very attractive. Amin Khatib’s action is very high. Akshay Tyagi’s costumes are stylish. FutureWorks’ VFX is very good, especially in making Ritesh a three-foot baddie. Mahavir Zaveri’s editing could have been a bit crisp.

Overall, MARJAAVAAN is a true blue spice entertainer. At the box office, this single screen has the potential to impress its target audience.

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