Failing miserably in capturing the fine moral discriminations of humanity and the growing atrocities during the partition the hallmark of - Saadat Hassan Manto's thought provoking, raw and rustic prose, Rahat Kazmi's MANTOSTAAN is a deliberate, desperate and forced attempt.
MANTOSTAAN MOVIE POSTERS
Those who have read Manto are aware of the impact of the harrowing sagas in his short stories told during the partition. Rahat kazmi's film takes four of those stories that include 'Thanda Gosht
', 'Khol Do
' and 'Akhri Salute
The story run parallel and such is the pity that even the most terrific of the four 'Khol Do
' - the story of a girl so traumatized by continuous rapes that she just removes her clothes when she hears the word 'Khol Do
' (open or undress) even by a doctor makes minimum impact. It's a pity to find an actor of the caliber of Raghubir Yadav who plays the girl's father unconvincing as an actor.
As the movie progresses, the proceedings turn more and more bizarre. The other three stories - 'Thanda Gosht
' - story of a Sikh (Ishar Singh) who kills people running for their lives during the Partition, to steal jewelry for his girl Kulwant (Sonal Sehgal) utterly lacks conviction in the execution. 'Assignment' story of a Muslim man refusing to escape to safety drags unnecessary like never ending elastic and to make matter worse the erstwhile dependable veteran actor Veerendra Saxena gets on your ears.
' - about soldiers who served in the same regiment once now divided by the partition does no good either.
The surreal idea to run these tales parallel and bring them together made no sense and it turns pointless in the end.
The execution of MANTOSTAAN by Rahat Kazmi gives a feeling that the genius of Manto's prose is misunderstood by the maker to be just terrifying and sensational stories; they are much deeper in sense and more powerful and bigger in its impact. Manto was a fearless hunter as a writer, Rahat Kazmi's MANTOSTAAN is a pointless blunder as a film. What a pitiful, terrible waste of a cult literature.