Cast: Nana
Patekar, John Abraham, Sameera Reddy, Sonali Kulkarni
Plot
: TAXI NO. 9211 is more of a Mumbaiya film. Set and
shot in the metropolis, the film depicts a day in the life of two individuals
whose paths collide on a fateful morning and life is never the same again.
Though the identification for a Mumbai viewer may be tremendous, it nevertheless
is a film that makes a bold statement about societal pressures and human
conditions. And how external influences can compel an otherwise decent human
being to do things that are despicable, shameful and disgraceful.TAXI NO. 9211
may come across as an experiment in terms of material, but it signifies the
changing face of Bollywood. Again, the material may seem soaked in Mumbai, but
the soul is very Indian. The father-son relationship, personal equations that
fluctuate with fluctuating bank balances/fortunes and the frustrations of the
common man� the premise is so real.In a nutshell, TAXI NO. 9211 may not boast of
that archetypal masala Indian moviegoers have been spoon-fed for decades,
but it's inventive and innovative. And, yes, it's thoroughly satisfying.TAXI NO.
9211 tells the story of two men, both prey to anger, who get involved in an
accident that brings out their worst qualities. They belong to the opposite ends
of the social scale. Raghav Shastri [Nana Patekar] is a short tempered cynic. He
has changed 23 jobs in the last fifteen years. He is an insurance salesman to
the world, but in reality, he's a caustic, instinctively witty cabbie who needs
Rs. 30,000 to pay the grocery guy, the taxi owner, his kid's school fees.Jai
Mittal [John Abraham], the equally acidic heir to a resourceful business family
[Aakash Khurana], has to go to court and prove his claim for Rs. 300 crores.
Today is his last chance. A trusted aide [Shivaji Satam] of his father is the
sole beneficiary. Naturally, Jai challenges the will in the court of law.There
was no reason for Raghav and Jai to meet. But circumstances bring them together.
Now Raghav has something that Jai desperately needs [the key to the locker,
where the will is safely kept] and Raghav is in no mood to return it. What
follows is a cat and mouse game of one-upmanship, as Raghav and Jai go to
increasingly unfriendly lengths to gain the upper hand.Borrowing the basic
premise from director Roger Michell's Hollywood flick CHANGING LANES [2002; Ben
Affleck, Samuel L. Jackson], TAXI NO. 9211 defies the stereotype all the way.
Not only does it boast of an innovative storyline [for the Indian viewers], even
the storytelling is equally original. Right from the characters depicted on the
screen to the hand-held camera movements to life-like performances, you need to
watch TAXI NO. 9211 with no pre-conceived notions.
One of the prime reasons why TAXI NO. 9211 works is because of the
unpredictable nature of the story. Right from the start, when an irritating John
forces Nana to drive the vehicle faster, to the chaos that ensues, the first
half
The post-interval portions are equally riveting. The car chase between Nana and
Sameera and later, between Nana and John, till a train bangs into Nana's car, is
hair-raising. Ditto for the birthday sequence, which turns out to be the most
memorable sequence of the enterprise. Even the end, when John tears the will on
Shivaji Satam's face, is perfect. Also, the final sequence is worthy of note:
John banging into Priyanka Chopra's car. Although Priyanka's presence has
nothing to do with the plot, it does bring a smile on your face nonetheless.
TAXI NO. 9211 is director Milan Luthria's finest effort so far. The choice of
the subject as well as the razor-sharp execution keeps you on tenterhooks all
the while. Besides, Luthria presents the two diametrically opposite characters
with utmost conviction. Rajat Arroraa's script is almost flawless. Of course,
the basic nature of the theme would appeal more to the Mumbai viewer mainly, but
the overall writing is foolproof.Vishal-Shekhar's music gels well with the mood
of the film. 'Bambai Nagaraiya' [rendered efficiently by Bappi Lahiri] is the
best track, followed by 'Meter Down', which stands out also because of its
snazzy execution. The song is sure to prove a hot favorite with the yuppie
crowd. The background score [Vishal-Shekhar again] is trendy. Cinematography [Kartik
Vijay] is of superior quality. The chases and stunts [Abbas Ali Moghul] act as
an icing. Special mention must be made of the editing [Aarif Sheikh], which
gives the filmed material that extra sheen.The performances are strong,
especially those by the two leads. Nana Patekar, who never fails to give his all
to a role, turns in another superlative effort, reflecting the despair and rage
with brilliance. The actor is truly memorable in two sequences: First, when he
lands up at his kid's school to bid him goodbye and two, when he breaks down
while cutting his birthday cake. His witty one-liners are sure to bring the
house down.John Abraham is eminently believable, enacting the role of a spoilt
kid to perfection. With Nana as the co-star, you expect John to get completely
eclipsed, but the actor stands on his feet and delivers a knockout performance.
Sameera Reddy doesn't impress. Also, she ought to watch her weight; she appears
plump and needs better makeup. Sonali Kulkarni is exceptional. Her sequences
with Nana are commendable. Kurush Deboo is first-rate. His sequences with both
Nana and John are well enacted. Shivaji Satam gets minimal scope.Priyanka Chopra
is there for star value only. Sanjay Dutt's prologue at the very start sets the
mood of the film.On the whole, TAXI NO. 9211 is akin to a whiff of fresh air, a
refreshing change from the mundane masala entertainers that you keep
witnessing in rapid succession. At the box-office, its business at metros will
be bountiful, with the business at multiplexes contributing enormously to the
booty. Not surprisingly, its prospects in Mumbai will be the best due to the
strong identification. Also, with no major release in sight for the next few
weeks, the taxi's ride will be smooth, attracting hordes of passengers in the
process. Strongly recommended!
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