Once upon a time- There were Characters

If you scrutinize the stretch of bollywood from 50’s to 2000, you will find that there is a constant degradation of literary sophistication. In 50’s and 60’s the Timeless Classics presented by the likes of Guru Dutt, Raj Kapoor and Bimal Roys remained unmatched for ever, not only because of the contents that they dealt with but also due to their quintessential directorial supremacy on detailing a subject. Although that was a Golden era, but 50’s and 60’s imbibed too much of westernization in its styling that was far from being in grab of a common Indian. In 70’s bollywood gained its second independence, as for each Beatles song there was a “Dum maro dum”, and for each different Indian emotion there was one “Aapna-own” powerhouse dialogue, that would bring the roof of theatre down with claps of audiences. 70’s ruled with its retro looks, its uncanny twists in stories and high voltage dialogues, that still remains the base of bollywood. You can add value on it or you can make fun of it, you decide what ever you want with 70’s.

So where those flared pants, flower print shirts, handle bar moustaches, sideburns and Polka dots gone? Yes, they are back on big screen as Mr. Milan Lutharia; Director of movies like “Kachhe Dhage” and “Taxi No 9211” portrays the city of Mumbai of 70’s in his new movie “Once Upon a time in Mumbaai” , when Gangsterism was in its budding stage in the economic capital of India.

“Bujurgo ki Kahanio me doh raja hua karta tha” but in OUTIM, there’s two. And Here Milan comes out of its usual trend. “Taxi No 9211” and “Kachhe Dhage” both dealt with two leading men, but one used to hold the power and the other came in a rather satirical note. OUTIM details on that untouched part of a Gangster story, when power shifts between two men of same calibers; but one holds ethics and other remains reckless. Milan excels in showing how the Masculine ego’s, hunger for power of shackle free personalities never allows two moons to settle in a night’s sky and pat each others back in peace and mutual respect. The complexities between Emran Hashmi (shoaib) and Ajay Devgan (Sultan Mirza) look far more like a chemical reaction where respect acts like a catalyst. Like a catalyst the story breaker will not take a part directly in the reaction though it seems to be taking, but He will left back traces when reaction ends. Sultan fails to understand that Transition point of his relationship with shoaib; or rather it’s too late when he understands. The City of Mumbai that Sultan loved like his girl friend, where he was respected like RobinHood, the city that he kept clean by his ethics, succumbed to the dirty palm of Shoaib as he says “Muthhi khola toh Mehbooba Bahar”.

Built on the line “behind the myth is the city’s greatest betrayal story” OUTIM is verbose expressions of vendetta, where characters speak a language which is as cherubic as some lines of mirza Galib, and impish cute in dress sense. Rajat arora’s dialogues are awesome, and there’s so many in the movie that if you mention one you will regret hundred others of same stature. Sultan brings a Guava as his first gift for his Girl friend Kangana (Rehana), who is a superstar in film industry buying it, in 400 rupees, or Shoaib who brings a bottle of “jhony walker” and snacks for his Bobby Prachi (Mumtaz), there’s a constant weirdness that flows across the movie, but each of them converts into mischievous brilliance as the last dialogue comes out. Then there is irony too, Rehana presents a wrist watch to Sultan on her first date, which runs by the heart beat. When sultan was shot dead in front of Rehana, the watch stops and Sultan shows it to her.




OUTIM is high on performances, as apart from Mumtaz’s character each of the main roles is given to experienced campaigners of gangster scripts. Where there’s a need for leader in Hindi movies, there’s none better than Ajay Devgan; call it Yuva, company or Rajneeti, Ajay deals on leadership. The grimace in his contour, his dialogue delivery, his stairs, postures, holding his hand high, and every thing seems pitch perfect and tailor made for a leader’s role. Emran Hashmi knows his limitations and never seen him crossing the boundaries in any of his movies. Well here’s an exception, Emran has evolved as an actor, and if you don’t believe just watch OUTIM. The female characters Kangana and Prachi both did a pretty good job and looked extremely beautiful in retro looks.

All in all OUTIM is a movie which demands patience from an audience, as its basically a very simple and hundred time told story, but its main Sap lies in its characterization and dialogues. Dig it if you want to take a sip at the ascent.