Films | Moh Maya Money- Movie Review

Moh Maya Money- Movie Review

Posted by Vivek on November 27, 2016 | No Comments

FILM – Moh Maya Money

DIRECTOR – Munish Bhardwaj

PRODUCER – Sandeep Narula

WRITER – Munish Bhardwaj (story), Munish Bhardwaj (writer), Mansi Nirmal Jain (co-writer)

CAST – Neha Dhupia, Vidushi Mehra, Ranvir Shorey

MUSIC – Tuomas Kantelinen

Moh Maya Money is a heist, caper film in the mould we were so used to seeing in the mini ‘indie’ film phase Bollywood went through a couple of years back. Set in Delhi, it revolves around an aspirational, unscrupulous, urban middle class couple, on a desperate drive for a better material life and the downward spiral it takes them on.

The film is taut and woven as a thriller, spewing twists and waylaying expectations to keep the interest going and it succeeds in keeping the audience hooked simply by the turns of the plot. In that sense it is completely plot driven, but not at the expense of its characters. Neha Dhupia as the wife, and Ranvir Shorey as the husband, both nursing secrets of their own, lend a believable aura to the upwardly mobile class couple they play. Their characterisation and aspirations speak volumes of their milieu, our upper middle class milieu, and is refreshingly presented without sentiments or morality.

There is a dark undertone to the film, which raises its tonality from a mere caper film to a rather stark comment on the dystopian ambitions the Indian middle class is sometimes driven towards. It almost becomes a portrait of the country’s educated middle class aspiring for more, materially and status-wise, and their constant conflict with their middle class roots. The characters, in their race for financial freedom cheat, lie and commit crimes to climb the social ladder but find themselves hurtling towards self-destruction. It is quite a realistic portrayal of how unfriendly life can get sometimes at its will, and sometimes by our own doing.

The film is written as a thriller, moving back and forth through timelines, in an effort to hide facts and throw clues. Rather than making the narrative interesting, this device seems like using a tractor to crush an anthill; it’s uncalled for given the nature of the twists and turns. These are mostly character-driven, presented to establish character motivation and backstories more than reveal information about what to expect next. They seem like taking up more time than one would like to spend on a detail because one wishes to know what happened next and this urge is a response to the film’s well crafted drama.

Despite the strong performances of the lead pair and the comfort apparent of the director with his milieu, the film ends on a note which instead of thrusting an ironic blow (which seems to be the intention) lends the entire proceedings a little inconsequential, which is befuddling at best in a film that otherwise fulfils its promises.

Fatema Kagalwala

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