Black & White (2008)

Simply Perfect

The film never slows down or bores, plunging from one harrowing sequence to the next.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Worth seeing just to witness how winsome it is.

Subhash Ghai's Black & White is an amateurish effort from a filmmaker clearly out of his depth as far as his subject matter is concerned. The film follows the story of a suicide bomber who seeks refuge in the home of an unsuspecting professor, while all along involved in a plot to blow-up the Red Fort. Loosely inspired by the Harrison Ford-Brad Pitt starrer The Devil's Own, Ghai's film explores the relationship between a terrorist and the couple who open their home and their hearts to him. Well-intended the film may be, but at plot level itself there's a fundamental flaw with Black & White, and that flaw is the writer-director's sheer inability to set the tone of the film. Opening on a note that's so pretentious you want to puke, Ghai uses redundant symbolism—like a child with a candle—to make a point that's been made so many times before. To top that, his every character is a caricature that spouts clichés instead of dialogues. Take Anil Kapoor playing the Urdu professor, for instance. How you cringe at those long sermons he delivers, and then his shameless hamming, especially in that scene where the professor returns home one night to discover a horrible brutality committed on his wife. Not that Shefali Shah, playing the professor's activist wife is much better. Hysterical for the most part, she's so over-the-top even in comic and supposedly emotional scenes, you want to remind her, this is film not street theatre where melodrama can be used to great effect. Newcomer Anurag Sinha, who plays the mysterious stranger with dishonourable intentions, has an arresting screen presence, undeniably, but straitjacketed in a loosely developed role he has little scope to really perform — unless you count his brooding and that 'angry young man' impression as a performance. Black & White falls like a pack of cards because it's meant to be a serious, even realistic film, a departure from Ghai's trademark masala musicals. But problem is the director is so unfamiliar and uncomfortable with minimalism that he cannot resist the urge to throw in some of his typical formulas, as a result delivering a film that is both confused and sloppy. Look at that presumably symbolic scene in which a deaf-mute child plays out a patriotic tune on her piano to a man just hours away from committing a ghastly act of terror. Or that supposedly comic scene in which an elderly poet makes repeated telephone calls to the professor's home late one night. Or even that indulgent dream song between the terrorist and the young student who's clearly falling for him. The sad thing is, for a film that was meant to address an issue, Black & White doesn't say anything that you don't already know. The film makes only token nods to patriotism, and if you ask me, I'd say the very themes of terrorism, patriotism and nationalism are just incidental to Ghai's story which is in fact, about the power of goodness and love which can convert even the serious non-believers. And that, my friends, let's not forget, is one of mainstream Bollywood's oldest and favourite themes. So you see Ghai never ventured too far from his comfort zone anyway.It's a miscalculation in every sense of the word, a film that makes Kisna and Yaadein seem watchable. When it comes to Subhash Ghai, I'd much rather watch his masala musicals any day.

I saw at the beginning that it was a Mukta Arts movie. Given the history of the banner, that could lead me to expect a lot. Look at the sweet part Anil Kapoor got in Taal. And here's Anil again, with Shefali Shah this time. I always look forward to seeing her.Short answer is that this movie isn't that good. The music is no more than average. The script is very awkward a good deal of the time. The plot asks a lot from your credulity. Just one blatant example is when they want to get the protagonist close to the Urdu professor, they fake a terrorist attack and then have him rescue the professor's cute young daughter. For that plan to work, the kid has to wander away from her parents. Since the kid isn't IN on the plan, they seem awfully lucky that she somehow gets separated on cue.Anurag Sinha, who plays the terrorist, is certainly a kid with some potential, but how great it is doesn't show in this movie. Compare him with J. D. Chakravarthy in Satya and it becomes obvious what I mean. Satya had the same kind of protagonist, but the director did ten times as much with the same sort of personality.Also, to me this is a different angle on the Dil Se story, but having Dil Se makes this movie look like a comedown.It might be worth one look, but no more.

Black & White – Subhash Ghai returns after the debacle of "Kisna". But unfortunately I was again disappointed and found the Ghai spark missing in the movie. In fact, I am quite surprised why the filmmakers keep on using the same plot again & again even when they know that it has been exploited before by others in the industry. We all have seen the plot of "Inviting a new person to live in your house which in disguise is a terrorist and a suicide bomber" used many time before also. The main source behind the inspiration is "The Devil's Own" which came in 1997 starring Harrison Ford as the house owner & Brad Pitt as the guest. It was followed by Raj Kanwar's "Baadal" released in 2000, in which Amrish Puri played the host and Bobby Deol was the terrorist. We also witnessed the similar kind of thing in the second half of Maniratnam's "Dil Se" (1998) which had Manisha Koirala, staying in Shahrukh's house. And now again it is repeated in "Black & White".Subhash Ghai surely moves ahead with an offbeat and an unusual track for Mukta Arts and he has broken his own old pattern of film-making with this venture. But its quite questionable why he chose a story which has similarities with many other movies. The film lacks the grip from the first half hour itself and then the only engrossing aspect is the music which comes as a background theme in many scenes. The screenplay is predictable from the first scene and the viewer also cannot relate to the secular them in a big way.The only impressive elements in the film are : 1. The unmatchable act by well know theater activist Habeeb Tanvir as the old poet. 2. And the Soul Stirring music by Sukhwinder Singh. In fact this is the first time I am impressed with this music for a film soundtrack. Way to go Sukhwinder…Keep it up.. Subhash Ghai undoubtedly has a gifted ear for good music which he has proved again with this latest offering.Anil Kapoor is impressive and establishes himself as veteran actor in the industry who can be a strong pillar for any project. The debutant Anurag Sinha is a good find, but he has got not much to do and only has to give the starring looks according to the his role most of the times. So he can be judged better when he emotes, fights and dances in his next movie. Shifali Chhaya is loud at some places and the rest of the cast just OK.The climax is the major letdown. The similar kind of climax you may recall in "Dil Se" and "Hu Tu Tu" when the suicide bomber is heading towards a national meeting place on 15th August or 26th January. Chandni Chowk and Heritage Sites in Delhi are the new craze in Hindi Films now a days. The best part remains the music by Sukhwinder Singh, though he borrows a lot from the Punjabi Traditional Music Treasure, still I will rate it as his best work for a film soundtrack till date. In simple words, its Subhash Ghai's attempt towards a different kind of cinema. He excels in parts no doubt, but I wish he had chosen a virgin topic for this move. Watch it for Habib Tanveer…and do listen to its complete soundtrack…Rating : 2 / 5

Okay, now I'm not exactly sure how to put it. I just returned watching the great showman's latest presentation "Black and White" and I am pretty muddled up because I have very mixed reaction to the film. Perhaps I am the only one contented out of the 17 who turned up for the show, or this film has been badly victimized of bad publicity and lack of good starcast. I say bad starcast because I am sure I felt exactly the same sitting there in the couch and watching the promos, but I did not know I would be proved so wrong once I watched the movie.Kudos to Subhash Ghai for picking a subject like this who otherwise took great pleasure in doing musicals targeted towards NRIs. I suppose this is very different as it has very less to do about life outside India and speaks more bravely of matters that have not been quite able to grab the attention of big film studios. Not that Yashraj (phew!) did terrorist movies like Fanaa and Red Chillies did Main Hoon Na, but this latest attempt is more subjected and particularly tackling to the main theme of the movie – global terrorism. Kudos once again to a setting that not for once you realise you're being shown a "commercial" (mind the term here) movie, yet at the end of the day it leaves you feeling that it has hit the spot.The movie served another good purpose to me as I was able to re-cherish my moments I spent in Chandni Chowk. I was there for a fortnight in 2005 so I was like "oh that's Shishgunj Sahib" and "look at the spot we had kulfis" through the movie. Quite mesmerizing though. However, I think Ghai has very well justified as why the movie should've been there and not anywhere else.Character wise, debutant Anurag Sinha fits in very well – be it the first scene where he's shown recording a TV feed or the later ones where he shoots. His serious, calm look is very intimidating though charming. Good find, Mr. Ghai! Anil Kapoor shows he is a good actor and not someone irritating like in Tashan trailer. I mean, we were shown Tashan's trailer before the film started, and later when Anil appears in this Black and White movie – just look at his versatility. At times when Anil himself is into curves and six packs, it indeed takes a lot of guts to get grey sideburns and glasses and perform with equal dignity and vigour. The new girl does not convince and I doubt if she'll go very far. However, Shefali Shah once again proves her metal. A very good work there but the one who steals the show is undoubtedly the old poet who is both charming and inspiring. Milind Gunaji cannot be remembered for the role. Scenic wise it's again so-so. You can't expect lot of scenic beauty for hazy Delhi plus the pollution. Music is okay, not a very good choice for repeated listens. Nice driving of the story, but whatever that makes me feel like taking back all the good words I've said so far is the screenplay – believe me, I found it haunting.I specially remember two over-the-top scenes: 1) where Anurag has to choreograph a shootout to win over Shefali Shah's confidence; and 2) the scene where Shefali dies and Anil Kapoor overacts. Notwithstanding that, I would definitely recommend this story to any sensible movie lover and ask them to try it at least once.I expect more of similar works from the great Showman who finally seems to have realised that he is indeed falling down and needed to take some serious steps to reclaim his image in the industry.