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“Krrish-3”: Something Borrowed….
5 January, 2014
Krrish-3 (The first superhero-character in the world not based on a comic) has effectively wiped out the damage done to Indian super leads by Shah Rukh Khan’s disastrous “Ra-One” which made Indians stay away from Superheroes for life.
The critics/reviews were too focused on what part of the film was “inspired” from which Hollywood film (and there are many) and forgot the main purpose of a film.
Entertainment: inspired, original, copied or otherwise.
The absence of Krrish-2 title is explained by comparing Sylvester Stallone’s Rambo series that started with “First Blood”, “Rambo” and “Rambo 3.”
Krrish, thankfully, does not have any issues: he simply wants to save the world unlike the “Nolan”-isation of present day complex-ed Hollywood superheroes.
The story is about deliberate virus-attacks by a quadriplegic Kaal (Vivek Oberoi) and his team of Mutants, living in an avant-garde laboratory on a snowy Switzerland terrain.
He then makes money, from the antidotes that he sells.
Kaal has a “Dracula” type of paleness, due to the lack of sunshine, since he is indoors most of the times, and is the most exciting villain to hit Bollywood after Gabbar Singh (“Sholay”) and Mogambo (“Mr India”.)
It’s Krrish and his father Rohit (Hrithik Roshan in a double role) who thwart Kaal’s ambitions that results in many of the films highlights: The fights with the mutants, the spread of the antidote on the city, Kaal’s cure and subsequent transformation, to the climax where an indestructible Kaal meets his end, with Krrish hovering on top of the destroyed rubble peculiarly resembling the iconic Roman lady of Columbia Pictures Logo.
Hrithik changed around 600 wax-masks as they melted after every shoot.
Though there are many OMG moments in the film, it’s the emotional ones that draw the “aahs.”
Hrithik shines in his role as the father (his expressions: quivering lips and tear-stained eyes convey more than a than a long speech to Lord Krishna would have done) and is brilliant during the final sacrifice towards his son in an effective, though over-the-top, solar experiment sequence.
Priyanka Chopra underplays her role as a journalist/wife to Krrish but manages to leave a mark and is drool-worthy in the song “Raghu Pati”.
Her sensuality is restrained vis-à-vis Kangana’s which is more blatant.
(No one is complaining, though)
Ably compensated for her shoddy role in Roshan’s flop “Kites,” Kangana Ranaut oozes sex appeal in a nothing-left-to-imagination backless latex suit, clad brazenly in a skin tight bustier and a crotch harness, transforming slowly from an emotionless form-changing mutant to whose latent feeling are aroused by Hrithik’s passion.
Since Rakesh’s first-produced film “KaamChor” (1982) was a hit, all his films have “K” in the title.
The songs are average but watchable.
Kangana’s raw infatuation is demonstrated in the stark deserts of Jordan (where the song “Dil Tu Hi Bataa” was shot) with creepy expressions and creepier costumes.
If nothing else, Rakesh Roshan should be applauded for giving us a polished, entertainer using Indian technology at a small fraction of Hollywood’s cost.
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