Aazaan
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Aazaan, one of the most expensive and espionage action thriller till date, is said to be ‘one of the most polished film that has come out of Bollywood, especially when it comes to technical brilliance’ by all those who have taken a sneak peak on it.
The expectations of the movie goers about director Prashant Chadha's latest movie Aazaan suddenly went up after Bollywood Superstar Shahrukh Khan introduced actor Sachiin Joshi and his movie in IIFA 2011 in Toronto. The movie surely lives upto their expectations and it offers something extra-ordinary in the action genre.
Aazaan is an espionage thriller and the action sequences, which lack flamboyance, are the major highlight of the movie. It is the best action movie shot ever in India. Sachiin Joshi's performance, Salim-Suleman's music, Axel Fischer's stunning camera work and Shubra Swaroop's screenplay are other attractions of the film.
The movie is all about a tormented-Muslim secret agent Aazaan, who sets out on to save his country and his brother. The movie is in par with Hollywood standards in many aspects like action, screenplay. In the beginning, Aazaan appears like a beautiful journey, but it soon turns more foggy. Prashant Chadha has a very gripping narration and he goes beyond the predictions of viewers in every scene. Although different characters speak various languages like Hebrew and French, the director has managed that these languages do not divert the attention of the audience.
Aazaan Khan is an Indian army officer, who has Afghan origin. He is trained at the NDA and is working as a secret agent for RAW (Research and Analysis Wing). He goes undercover to find out information to save the country, when India faces the threat of lethal virus attack. Meanwhile, he is also on mission to find his missing brother, who is now involved in terrorists' biological warfare. How Aazaan saves the country and his brother will form the interesting portion of the film.
The director could have selected dynamic actor like Hrithik Roshan for the hero role. But this does not mean that Sachiin Joshi has not performed well. He done a wonderful job in all kinds of sequences. Candice Boucher is also good in her role and she is a feast to the eyes of pranksters. Prashanth Chadha does not seem to have used the actors like Sarita Choudhary, Dalip Tahil and Ravi Kissen in proper way.
In the technical front, Salim-Suleman's background music is the major attraction. Their composition of songs is also good and the placement of songs is also okay. Axel Fischer's cinematography is a visual treat. The action of film moves from Morocco to Germany to Hong Kong and Poland and he has captured this movement in a brilliant way. Dialogues are also commendable and they evokes the sense of patriotism.
Overall, Prashant Chadha has set a Hollywood trend in Indian action thriller with his latest movie Aazaan, which is a treat for action lovers.
In short, AZAAN is a cocktail of TASHAAN, BLUE and DRONA.
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Aazaan
Aazaan Review – Script Analysis
Shubhra Swarup, Heeraz Marfatia and Prashant Chadha’s story about biological warfare is quite new for the Indian audience but it is so confusing that the viewers won’t follow the whys and the whos in the plot. Strangely, while the points about the biological terror have been explained in a simplified manner, the basic drama about why characters are doing what they are doing and how they are related to one another is not clearly explained. Shubhra Swarup’s screenplay is more confusing than a jigsaw puzzle because of which the audience is unable to understand the drama and even enjoy the wonderful stunts. More time of the viewers is lost in trying to decipher what’s happening on the screen, in the absence of a simplified and well-explained screenplay. For instance, the visions Aazaan gets of his childhood are explained too late in the film. Why Afreen can connect with Aazaan’s soul is just not explained. Even the point of Aman Khan being a terrorist has been only loosely explained. The relevance of Imaad (Aarya Babbar) and Malak (Samy Gharbi) is not very clear.
Worse, perhaps, is the emotional connection of the story with the audience. So much prominence has been given to the stunts in the film that the emotional connection of the characters with the viewers is almost completely ignored. As a result, the public is not even thrilled when one man does all he can to save his country. Even his death-defying stunts leave the audience almost unconcerned for his well-being. Why Aazaan Khan does not escape in the end with the aid of the parachute, when he could have easily done so by strapping Sofiya to himself, is also not explained. Instead, he keeps fighting with the villain’s henchmen. Dialogues, penned by Shubhra Swarup, are ordinary. There are too many dialogues in English and other foreign languages, and the use of subtitles in Hindi and English don’t make things much better.
Aazaan Review – Star Performances
Sachin J. Joshi makes an ordinary debut. He shines in the extraordinary stunts but leaves a lot to be desired as far as his acting is concerned. He needs to work very hard on his facial expressions and body language. He has minimum dialogues to mouth, which looks weird. He also needs to look less chubby. Candice Boucher looks pretty and does reasonably well. Aarya Babbar is alright. Samy Gharbi is good in action scenes. Ravi Kishan leaves a mark. Alyy Khan does a fine job. Sarita Choudhury stands her own. Sajid Hassan plays Doctor with effortless ease but considering that he is the brain behind such a heinous crime, his role is quite insignificant and short. Dalip Tahhil acts ably. Vijayendra Ghatge does a fine job. Sachin Khedekar is effective. Amber Rose Revah is cute and promising as Sofiya. Neet Mohan is okay.
Aazaan Review – Direction & Music
Prashant Chadha’s narration concentrates only on the action and stunts and almost ignores the story part of the drama, which makes it quite difficult to understand. In that sense, his direction leaves plenty to be desired. But he has given the film an international look with his stylised shot-takings. Action and stunts, composed are terrific and, in fact, the film’s mainstay. The action scenes and foreign locations have been excellently captured by cinematographer Axel Fischere. Music (Salim-Sulaiman) is beautiful. The Afreen song is excellent; the Bismillah number is also appealing. Song picturisations needed to be far more eye-filling. Production values are grand.
