It's a moment that defines the plot. Industrialist Karan Shah's (Rahul Khanna) father has been gunned down. A snoopy over made-up journalist from a real-life news channel sneaks into the tycoon's cordoned office building for some sumptuous sound bites.
But then Priya sees the grieving son sitting in shattered, bloodied bereavement in his office. She mumbles an apology and withdraws.
The moment reminded one of those two other ambitious newshounds, Shabana Azmi in "Main Azaad Hoon" and Juhi Chawla in "Phir Bhi Dil Hai Hindustani", confronted by their conscience during a time of crisis.
The crisis in "Elaan" is multiple. On the most visible level it involves Karan Shah's battle against extortion and murder by a don named Baba (Mithun Chakraborty). The whole effort to extradite Baba from his Alpine hideout through Karan's "five-man army" - comprising Rahul, Arjun Rampal, John Abraham, Amisha Patel and Lara Dutta - draws pointed attention to the film's hybridised antecedents and also to the headline-hitting Abu Salem extradition story.
The theme of a group of self-appointed angels of justice bringing a barbaric bandit to book isn't new to cinema. Ramesh Sippy did it with extraordinary ?lan in "Sholay". Before him it was Akira Kurosawa in "The Seven Samurai" and John Sturges in "The Magnificent Seven". After Sippy everyone from Raj Santoshi ("China Gate") to Ram Shetty ("Army") has attempted a "Sholay".
Vikram Bhatt's take on the all-time classic is a rigorous re-invention of "Sholay". That bandit Gabbar Singh in "Sholay" transforms in the suave and sartorially chic Baba in "Elaan" is a sign of the times.