Hindi cinema has never produced anything like this
Hindi cinema has not produced much murder. The film emerged from a hitherto unexplored fissure by Mumbai cinema. It pushes the boundaries of violence and is beyond what a Bollywood action flick could ever imagine.
Instead of staging the usual bowdlerized Bollywood set-pieces designed to cater to action star fans, murder Safety does away with padding. Its take-no-prisoners approach results in endless slaps and gashes and frenzied, blood-spattered fights and lunges.
Protagonist and main antagonist in killingDirected by Nikhil Nagesh Bhatt and produced by Karan Johar and Guneet Manga, the film is played by actors who are not affected by the limitations imposed by stardom.
Casting dancer and choreographer Raghav Jual as an up-the-pole killer is certainly intriguing. They are ordinary guys with apparently extraordinary tendencies in different men on screen.
When they bare each other’s fists and otherwise, the results are electrifying. The actors are free to go with the flow of a film whose strength comes from its relentless intensity.
A no-holds-barred face-off between two off-duty Black Cat commandos and dozens of armed criminals who attacked a Delhi-bound train, murder Resort to what some might consider overkill. To be sure, what the film reveals is excess.
It’s a taut, tense and terrifyingly inventive act of shocking violence that hits the night inside a train compartment. The film is definitely not for the squeamish.
Zombies are the train to Busan train riders are Mughals on this express ride. There is one clear difference though. In the latter case, attackers quickly become sitting ducks who alternate between aggression (as a defense mechanism) and fear of an opponent they have never encountered before.
Stunt choreography by Parvez Shaikh and Se-Young Oh (action director of Bong Joon-ho’s Snowpiercer as well as Bollywood thriller) war And Tiger d) provides killing A crusty layer of shocking ‘realism’. When a throat is slashed, a torso torn off or a few fingers amputated, a numb panic sets in.
Indeed, the bleeding is relentless. Men are pierced. A brigand’s head was blown off with a fire extinguisher. Another person’s face was burnt. Some fall to their deaths. The skulls are dissected with weapons that range from meat cleavers and axes to hammers. The film is certainly not easy to watch but is strangely mesmerizing.
The story, needless to say, is thin. Tulika Singh (Tanya Maniktala) loves Captain Amrit Rathore (Lakshya) and is determined to marry him against her family’s wishes. Her domineering father, Baldev Singh Tagore (Harsh Chaya), who owns a transport business in Jharkhand and fears her connections, forces her to get engaged to a man of his choice.
The family, which includes Tulika’s younger sister Ahana (Adrija Sinha), is on its way back to Delhi from an unspecified city on the Rajdhani Express route when the train is attacked by a group of goons led by Benny (Ashish Vidyarthi) and his hot-headed son (Raghav Jual).
The gang started robbing passengers. It’s all in a day’s work for the train robbers until they realize they’re in for a rough ride this time. Amrita and his NSG partner have to fight against special Atwal (Abhishek Chauhan).
The former, along with his best friend from the force, boarded the train secretly. He doesn’t want to let Tulika out of his sight. The two are apparently unwittingly caught by the robbers. They quickly understand what is happening and act.
The violence did not stop until the train reached Deendayal Upadhyay Junction (formerly Mughalsarai Junction) after about seven hours. The mayhem is chilling and cathartic — chilling because it’s unabashedly gruesome and sensitive, cathartic because the marauders aren’t allowed to get away with murder.
Both sides have losses but the outnumbered commandos are more than a match for the bad guys. The latter commit several murders but never seem to go unpunished for their heinous deeds. The response to their heinous deeds is almost immediate and no less horrific.
murder There is a moral compass, a clear context to the ‘war’ that unfolds. You’re lucky you’re not at the border, a commando tells a robber he’s overpowered, or you’d be dead by now. Brinkmanship is the order of the day.
Neither side yielded any ground. The violence is beyond extreme. The line separating the morally expedient and the outright horrible has been blurred in a way that makes it impossible to tell one from the other. As the body count grows at an alarming rate, it has an inevitable psychological impact on both sides of the moral divide.
The invaders, caught in an unexpected life-and-death situation that took a heavy toll on their ranks, acted as desperate as in self-defense, indulging in bloodshed. Even as doubts begin to creep in, they are aware that they cannot be seen as incapable of standing up to the power and ferocity of the lone black cat.
Commandos, trained to jump into battle under worst-case scenarios, have no choice but to go in for the kill without a second thought. In the immediate aftermath of their first kill, the commandos aren’t sure what they did was right. It was a split-second decision, he says, which led to an untimely death.
Similarly, when the robbers claim their first victim in a sickening turn of events, the killer is reprimanded for his impulsive act and the gang leader warns him of the consequences. We have principles, says Mastermind. His son pooh-poohed that claim. We are criminals and we have no principles, he asserted.
The amoral, apocalyptic setting that the director creates from the familiar locations of the passenger train is enhanced by the extremely resourceful camerawork of cinematographer Rafe Mehmood. Shivakumar V. Panicker’s editing speeds up a film that has no room for any kind of statistics.
killingStupefying and explosive, an experience. It’s grim but cinematically glorious. But be warned: the faint of heart may find the film disturbing.
