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by Karan Anshuman (Filmmaker/movie critic)|Posted on Mar 31st 2012| Rating
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Karan Anshuman (Filmmaker/movie critic), 

Karan Anshuman is a film critic for Mumbai Mirror. He's worked on a bunch of movie projects, none of which you've ever seen...yet! He's a history, photography, squash, web 2.0, food, and gaming enthusiast who would trade his soul to travel the world.

BLOOD MONEY: WILL LOSE EVERYTHING

Director: Vishal Mahadkar; Cast: Kunal Khemu, Amrita Puri

Rated U/A

1.5 stars


Blood Money is a generic mash up of Mahesh Bhatt’s productions, cannibalizing from his own films. You will find the essence of Jannat’s theme and South African setting here, songs that you can’t help but visualize Emraan Hashmi in, and a dire, meaningless need to titillate.

Kunal and his wife Arzoo are handed a dreamy lifestyle the moment they land in SA for his new job in a diamond dealing company. He gets carried away (“Aaj shaam party hai”), she sits home and keeps throwing uneaten meals she’s cooked in the garbage (this happens twice plus a flashback). He realizes too late the organization is crooked – one scene encapsulates a popcorn interpretation of Blood Diamond – and there is no bailing out.

There is a despairing lack of thought and execution ideas in Blood Money. The story unfolds as if being told to a five-year-old. Almost literally, because at one point Arzoo explains the entire allegory of Hansel and Gretel word-by-word to her husband, like a child talking to another child. Her character is asinine and Amrita Puri has no option but to play it that way. How does she react in a scene where when her husband calls her and says he’s dying and this might be the last time they speak? She says "Kunal, mujhe vidhwa ban kar waapas Mumbai nahin jaana hai,” with a straight face and utter lack of emotion, as if she’s ordering sandwiches.

Even in its more dramatic moments – like when our hero is stabbed in what is possibly the only mildly stirring moment in the entire film – what does the director do instead of building tension and keeping us interested? Why cut to a dreamy sequence song of him romancing his wife of course. If it wasn’t for Khemu’s sincerity, the movie would be entirely unwatchable.

The majority of the second half is shot with one wide lens covering a master shot; as if the makers were in a hurry and couldn’t care less about skewed faces and perspectives. The technique adds nothing and Blood Money could’ve used a more experienced hand who uses the camera not only to capture, but also to tell. The poor dubbing gets you trying to guess what the actors are really saying when they traded the ‘A’ for a U/A certificate and as for the music, well you’ve heard it before.

Blood Money is nothing what it promised to be. Instead of a slick thriller we have a cringe-worthy, amateur effort with not one aspect that stands out. Makes you wonder if some filmmakers are better off borrowing ideas from Korean cinema. 


For more Bollywood reviews by Karan Anshuman, click here
 

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