In the world of noir cinema, story is more about perspective than anything else - of wrong and right doing, of finding the middle ground and questioning the basics unapologetically. Wazir is a bold, uncompromising product of genius that is unfortunately weighed down by its cliches and predictable plotline. In this film, you've to take your pick on what you prefer holding on to - its abundant positives or its vital pitfalls. But definitely, it atleast gives you a reason to think, with a story that stays. Pretty much what good cinema is supposed to do - beyond the tubs of popcorn you gorge on and the glasses of coke you gulp down for 3 hours of precious entertainment time. Much after the curtains roll down on the film, you're compelled to walk through the twists again; only to realize that despite the reservations that one might have about the film, it has a streak of brilliance that the movie owes to its writers - Abhijat Joshi and Vidhu Vinod Chopra. Rarely does Bollywood come up with such an intoxicating concoction of thrill and emotions. On that account, the film delivers to the tee.
The film captures the unusual bonding between two men, separated by age and experience, suffering the common pain of losing their child. Danish (Farhan Akhtar), an ATS officer loses his daughter while on a impromptu mission. His wife (Aditi Rao Hydari) severes all ties with him. Destiny then draws him towards Panditji (Amitabh Bachchan), a chess champion who is recovering from the loss of his daughter as well. Anything more than the basics will be a spoiler, so we'll have to hold it at that.
There are too many stories overlapping in the same narrative, which demands greater efficiency from the director and a longer attention span from the audience.
Director Bejoy Nambiar can be faulted for the way he tells his story. If you have watched any of his earlier films, you'll know that he is voguish to the core but his film always has that essential wholesome factor missing. It is a shame because the man has immense potential, which is evident in the way sets the canvas but somewhere the overstylizing takes away from the film's soul.
The only reason why you invest in the characters of this film is because of its actors. Both Amitabh Bachchan and Farhan Akhtar let their eyes do most of the talking. But the film proves how far an actor can go in making people invest in the story. Even if you can sense the climax of this film from miles away, the actors render a heartfelt quality in each of their performances, making you connect to the pathos of their characters. Unlike Shaitan, where its women were the linchpin (remember the outrageous condom scene?) Aditi Rao Hydari is reduced to a mere prop in the story. For an actor who is capable of much more, her character in the film is not adequately fleshed out. She, however, lends whatever little depth to the film that she has scope of. Neil Nitin Mukesh is exquisite in his limited part in the movie. We can finally forgive him for the needless GOT joke he had popped our way a few months back. Manav Kaul does a satisfactory job but his character required a better build up.
The film's characterization is frail. Farhan's Danish has shades of Aamir Khan's character from Talaash - the burden of his guilt makes him a forlorn figure. Yet, the plot never takes a breathing moment to let the calamity of the story sink. Even the revenge comes too quick, too easy.
With its best foot forward to make the characters inflammable and the story explosive, the film's cliches are far too many! If you are a well-read person who enjoy his frequent dose of world cinema, no part of the story will shock you. What it does manage is coherently follow the trail, keeping the narrative bubbling with the right amount of energy, shocks and surprises, with enough heart at hinge. A specific note to filmmakers - Kindly spare us the re-run of the clues you leave through the film. The tendency to spoon feed people is so ingrained in our system that even modern day filmmakers resort to the method out of habit. Guys, get the cue! If people don't get it till the end, they are just not worth your film.
Wazir has all the makings of an irresistible, sexy, tempting thriller that comes together in its climax but doesn't roll out as convincingly as expected. It tries to be deceptive but doesn't have enough to outsmart all. It evokes thought, woos you with its brusque, bravado style and its distinct flavour. If you can survive the boredom of the weaker moments in the movie, you might just be left intrigued with the power of its crackling climax.
We rate this film a 60%
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