Mod – Movie Review
Posted by FATEMA H.KAGALWALA on October 14, 2011 | 1 Comment
PRODUCER – Sujit Kumar Singh, Elahe Hiptoola, Nagesh Kukunoor
DIRECTOR – Nagesh Kukunoor
WRITER – Nagesh Kukunoor (Official remake of ‘Keepin Watch’)
CAST – Ayesha Takia Azmi, Rannvijay Singh Singha
MUSIC – Tapas Relia
Nagesh Kukunoor burst on the cinematic scene with his refreshing ‘Hyderabad Blues’. With ‘Iqbal’ and ‘Dor’ he exhibited a fresh voice telling stories that were sensitive, warm, earthy and engaging. Fans would love to forget his ‘Bombay to Bangkok’ and ‘Tasveer 8X10’ but Mod, an official remake of a Taiwanese film, ‘Keeping Watch’, erases the bad memories somewhat.
Kukunoor and his mouth-piece, Gayatri Bua (Tanvi Azmi) choose to call it love but Kukunoor hasn’t turned romantic in Mod. His best tales have been stories of human spirit and resilience. His protagonists are little people capable of great things. He has always been interested in the journey. He lets Aranya make her journey with a free hand here.
However, she isn’t helped much by a choppy and wavering script. Kukunoor seems to be in two minds to zoom into moments and emotions or concentrate on events. Still, the consistency of Aranya’s character and Ayesha Takia’s sensitive performance carries it through. Hers is not Meera or Zeenat’s journey but heart-warming nevertheless.
Small, but yet again Kukunoor establishes the world of his protagonists well. Raghuvir Yadav as her father and Tanvi Azmi as her bua are fleshed out enough to provide the framework to understand Aranya. Prateeksha Lonkar as Andy’s mother, in one explosive scene provides enough perspective to Andy but Abhay’s world ends up feeling unexplored. The scientific premise on which the suspense of the film hinges is dented for cinematic purposes. However, Ranvijay holds his ground steadfastly in the multiple shades he is required to portray. He gets under the skin of his character with a refreshing confidence and consistency. The writing lets him down and but he never lets loose his grip on his performance.
Mod becomes a love paean by the time it ends. But it goes through some pleasant scenery while travelling. Moments of the lovers meeting among tea plantations and pristine waterfalls. The heroine on a moped and a nursing home in the hills makes visual we rarely see. The camera captures high altitude beauty with a touch of reverence, keeping the virginity intact and never romanticising with filters and such. Aranya’s wardrobe, regular and even frumpy, fits well with her background and the music sails through with the momentum of the story.
Mod doesn’t tug at heart-strings compulsively. It has holes, which dilute the experience but it paints the picture of a nice world we want to know with real, likeable people we want to wish well. Few films manage to get you there.