The once innovative format of three or more parallel stories in a script getting connected with an interesting twist in the end has been repeated several times in the past in Hindi films. But the format still has got potential depending upon the writing, the novel stories and their engaging interconnection having the shock value. However nothing of that sort can be found in KAALAKAANDI in its three not-so-connected storylines that remain pointless till the end except the one dealing with an unintentional road accident.
Written and conceived without any basic thought process reaching any meaningful or entertaining culmination, the film has its main plot dealing with a person suffering from cancer with a limited time left, another on two wannabe gangsters deceiving each other and the third where a group of young friends gets involved in a hit and run case. With the first two remaining mostly immature and absurd, it’s only the third story that at least gives you something to praise as per the theme apart from the good performances.
Debut directorial venture of DELHI BELLY’s writer Akshat Verma, KAALAKAANDI (meaning dubious activities) belongs to the same genre but it neither entertains nor engages through its various characters. The stories had potential but they never impress or make an impact as their characters remain bland throughout. Despite immense possibilities, the writer-director never thinks of exploring the depth of his own characters in the script quite strangely.
Saif Ali Khan tries his best playing the weird role but the writing never lets him excel in his praiseworthy funny portrayal. On the other hand, Sobhita Dhulipala and Akshay Oberoi make a decent impression out of the entire supporting cast that includes names such as Vijay Raaz, Deepak Dobriyal, Kunal Roy Kapur and others, who sadly remain more or less wasted. Personally I loved the few scenes of Amyra Dastur and Isha Talwar in particular looking great on screen, but again they don’t get much to do in the film heading nowhere.
KAALAKANDI doesn’t offer anything interesting in its soundtrack or background score too supporting the bizarre progression. Moreover, the unusual mindset behind the film clearly gets revealed in its very first scene itself, from the way a doctor breaks the news of a last stage cancer to his patient in an unconcerned, silly manner.
Besides the film strongly promotes the use of drugs or substance abuse, glorifying it on the screen like never before with pleasant special effects in an inviting style. Wonder how come the censor board allowed the same without any counter justification in the end stating the ill-effects of such addiction.
In short it’s an unnecessary film, which you might not mind watching free on an online portal soon due to its odd, interesting characters and some good performances. But spending a big amount on the costly multiplex experience is strongly not recommended.
Ratings : 1.5 / 5 (It loses a big one for its questionable and foolishly inviting portrayal of substance abuse)
(Note: The article was first published on UC-News Mobile App in January 2018)
Beyond The Review
With its three parallel storylines not really related to each other, KAALAKAANDI keeps struggling throughout as a highly confused project not sure of its own genre. In other words, as an indecisive absurd attempt it’s neither a good thriller nor an enjoyable, insane comedy to be straight. Hence its really difficult to conclude why the project was made and for what kind of audience?
Moreover, it yet again points towards the biased censorship restrictions where a PADMAVATI is forced to change its title with many cuts as we are very much concerned about our history or past, but a KAALAKAANDI is simply allowed with an ‘A’ certificate even when it has a very inviting presentation of many pleasant visuals portraying the experienced one has after taking a LSD pill.
Putting it bluntly, the film reveals that perhaps the past is much more important than the future of our youngsters and coming generations.
