Even the much hyped promotional song Harfun Maula can’t save director Amin Hajee’s mystery thriller which suffers due to weak direction
Very rarely do you come across films that truly justify the mixed bag expression. While you do like some aspects, you despise the others. Koi Jaane Na clearly falls under the ‘mixed bag’ list, inclined towards the poorer scale.
Watch the trailer here:
A famous motivational writer Kabir Kapoor (Kunal Kapoor) hits a writer’s block and his entire life is at a legal stake. Parallel runs the life of a fictional writer who writes crime stories based on the real life crimes that happen. What’s the connection?
Written by Hajee, it’s a trivial story. It lacks merit and substance. Rather, it’s amateur. There are layers to the story, it has things to cherish in the content but not strong enough to make you feel the impact.
The ultimate twist is good, but could be made plausible and relatable so that when it comes on screen, you are hit by surprise. It happens though, but only in a very limited and surface level. This also happens because the film by then never really takes off the ground. There is a deliberate attempt to make the story convoluted and it shows, snatching the natural charm from it.
The film talks of story within story and how a character takes over a situation more than the real person. It also delves into psyche of a person with a deeper meaning to the world of crime and association with reality and fiction. As profound as it may seem, the writing of the film doesn’t live up to the thought.
Adding to your woes is poor production value, with hardly any visual richness on offer. Seems like the DOP had to work for free and the production design was set on force. The direction in terms of what the flow should be also falls short in delivering quality. The plot points are unnecessary made to stretch adding to the length of the film.
Kunal Kapoor performs well and brings in confidence. But not throughout. There are scenes where he seems to be going overboard.
Amyra Dastur has a well etched role, a rare phenomenon in such films. Good to see the writers making a female character so strong in a film that seems to be dominated by a male character. She performs nicely and makes her character eternally believable.
Ashwini Kalsekar is good as a cop. It’s a relief seeing a known face in that role. Atil Kulkarni also renders faith to the plot when he appears much in the later part of the second half. Vidya Malwade has a small role and she is just okay, mostly over.
Karim Hajee is mostly loud and over the top. Just okay
Music is surprisingly good. Two songs are remade versions and others are new. But all of them collectively make the film charming. The songs make the viewing experience better giving the film more connect. The score could be better. The scenes lacked a gripping appeal, which could have come through a more intelligent score.
Cinematography by Arun Prasad is poor. The shots, frames, angles are all bland and flat. The closeups are not natural and seem forced. It could be so much better. Futile usage of various coloured lighting is enough to make out that the person lacks experience. Productions design by Nida Diwan also lacks fervour. The sets are mostly tacky and too dramatic.
Ballu Saluja’s editing could be sharper in the second half. The film could be easily chopped by 15-20mins.
It’s a decent story. But the execution gets repulsive in the sense that although the characters talk of edgy suspense, you mostly sit blank.