mithya– a re-review

In many ways, Mithya is Rajat Kapoor's coming of age film. A lot of thought has gone into the script he has written with Saurabh Shukla and the screenplay is witty with its dialogue and sweeping with its story and plot. The first half moves with alacrity despite a lack of visual variation (the item song and the shoot out at marine drive stand apart, though for different reasons) and is fresh in its own way as the story unfolds

It falters post the interval, and there is little one can do about it.One can't help but blame the concept of an interval and that the film would be complete if treated and seen as a unified whole. Kapoor makes this point as the interval point is one of the most abrupt, much like when multiplexwalas mercilessly interrupt Hollywood movies at their whim. Anyway, the intention, you can see clearly, was there on paper to encompass a broad range of emotions, but a spiffier climax (perhaps with one last twist) would've ensured a round of applause at the end.

The mid-budget film doesn't seem compromised and has a some high-quality actors playing not-so glamorous parts. Even Neha Dhupia isn't bad and that's saying a lot. Kapoor's grasp on the medium seems complete. Technically, all departments score, except for music which is inapt and mostly rubbish.

Unarguably, at the end of it, Mithya is Ranvir Shorey's film. All his key scenes are the stand out scenes of the film. Whether it's the kidnapping of his 'kids', his relationship with his 'wife', and the 'training' sequences earlier on, it's Shorey who carries it all. Despite his occasional fall back on his patent characteristic delivery (which we have seen enough of), Shorey rises to the challenge of a lead role and pulls it off with some presence. He seems to have thought this thru and has given it everything. It's a good effort. But how far can he take it in forthcoming films? We hope for more.