The best thing about KAALAKANDI apart from Saif Ali Khan’s terrific performance is that it proves perfectionist Aamir Khan is more human then we think and humans are bound to make mistakes.
After watching KAALAKAANDI, Aamir may have never laughed so hard after DELHI BELLY but here is what I felt after watching the fabulous writer of DELHI BELLY –Akshat Verma’s debut as helmer in KAALAKAANDI – a baffling mad caper. I hardly laughed after a while. Let me tell you why.
DELHI BELLY was a riot and this raises expectations from Akshat Verma. Akshat in his debut moves from the lanes of Delhi to the dark nights of Mumbai – a city that never sleeps. We are introduced to a typical white collar Saif Ali Khan (the character name is disclosed much later) who on the eve of his brother Angad’s (Akshay Oberoi) wedding on a rainy Mumbai night discovers that he is suffering from stomach cancer and has a couple of months to live.
The white collar bank employee matlab Saif decides to enjoy the rest of life to the fullest and the bucket list is highlighted by red star an acid drug that takes him to a psychedelic world.
And that’s not all, Akshat’s KAALAKAANDI – A Marathi slang which means when everything goes horribly wrong, is episodic in structure and part stoner, part hipster, part mad caper in nature.
There are other two tracks, where the life of a student (Sobhita) and her boyfriend played by Kunaal Roy Kapur changes after a hit and run accident. And in the third and the last track two contract killers – Vijay Raaz and Deepak Dobriyal decide to steal the booty and become the gang lords.
The problem with KAALAKAANDI is that the movie falls prey to the phenomena called loosing in transformation. The script idea is brilliant but the execution lacks the zest and apart from Saif Ali’s episode, the sex with a transvestite, Saif’s scenes with Sheela (Nyari Singh), the shooter with a quirky name omelet, nothing much pushes the button of wild, quirky fun. Though Deepak and Raaz are outstanding in their acts individually, the other tracks fail to tighten the loose ends though the dig on police has its share of laughter.
Angad (Akshay Oberoi) is okay, the fling scene is a disaster. Due to these interruptions the striking episode of a dying man Rileen (Saif Ali Khan name) is left wanting for more.
Saif Ali Khan is terrific and utterly convincing, flying dolphins, sex with a transvestite (that’s unique) is entertaining. As said earlier Deepak Dobriyal and Vijay Raaz are first rate.
Technically, the background score gives full justice to the genre and mood. Rest is nothing to shout about.
If you love Saif Ali Khan than anything else and have the patience to experience the occasional fun in the entire lunacy that runs for one hour and fifty two minutes then go ahead.