Johnny Gaddaar (2007)

Nice thriller movie.The story is good.The movie is fast and full of tension and suspense and keeps you at the edge of the seat from start till end.And not even a minute a I feeled bored.Nice acting by Neil nitin mukesh.He should do more movies like this.Nice direction.Nice editing.The train action sequence were good.The story is about a gang and their money and a men who betrays them.Though from start onwards we know who the killer is still the movie is awesome.The ending was terrifying.If you want to see a fast paced thriller movie then go for this.You will surely like this one.

With the very under-rated 2008 Bollywood Neo-Noir Maharathi having given me a preview of what excellent Neo-Noir work could be done in Bollywood,I decided to search round on Google,with a small amount of hope that I would eventually run into another Bolly-Noir.To my surprise,one of the first results that I was very lucky to find,was an a essay which took a look at the modern rise of Film Noir in Bollywood, that had a completely unknown ,(to me) film as the centre for the discussion on Film/Neo-Noir in Bollywood.Checking up for more info about this intriguing Neo-Noir,I was thrilled to see almost nothing but complete praise for this exciting looking movie.After reading as much as I could about the film,I felt that it was about time for me to meet the one and only Mr Johnny Gaddaar. The plot: Barely missing from hitting a car,a police van patrol the local streets as a mysterious stranger at a near by house,shoots someone who is attempting to unlock a garage door. A few weeks earlier: Stopping a coach from allowing his on-off again girlfriend from leaving him behind,"business man" Vikram impersonates a cop to successfully grip his runaway girlfriend .Desperately trying to win her trust,Vikram is given a tough ultimatum by his girlfriend:either go with her,or carry working in a group of four other "businessmen" who run an illegal gambling operation.Thinking about the hand that he's been dealt,Vikram tries to make his girlfriend forget about the "problems,by successfully charming her to his hotel bed.Whilst Vikram keeps trying to patch things up with the girl,the other four gangster businessmen, ( Seshadri, Shardul, Shiva and Prakash) begin to plan on how they can all finally leave the "chicken feed" behind,and at last enter the big league's.Building up a series of fairly high-level congestion's,the gang eventually decide that they will each contribute a good part of their own personal savings,in order to have complete control over a huge intake of drugs,which are to be brought into the city in a few days time by a corrupt cop.As each of the "loyal" gang members start to gather up their cash,Vikram begins to consider that,instead of fully cooperating with his friends plan of climbing up the ladder,if he should instead make the drug deal a bust,and cunningly take the money and run? View on the film: From this amazing film's pastel colour opening credits,co-writer/ (along with Vinay Choudary) director Sriram Raghavan shows an astonishingly stylised,intelligent eye which gives even the most "normal" moments in the movie a real flair.Using the pre-credits scene to cleverly set the movie in a James Hadley Chase inspired Neo-Noir world,Siram smartly uses bold neon colours in the film (from Vikram tossing a coin to decide his destination,to the bright objects hanging by a characters window) to give the film a fantastic,sharply-lit gritty Noir feel,which intensifies into an abrasive mood,as the film reaches its stunning down beat end.Looking at the screenplay of the film,Raghavan and Choudary brilliantly have their web of deceit and back stabbing gradually come to the surface of the movie.As the impressively non-tangled web allows for the viewer to pick up on "hints" in the initial first section of the film,Sriram and Vinay choose the best moments to progress the films story with shocking,grim twist & turns that allow the film to end in the murky Noir rain.

For a movie that reveals the traitor in its name, Johnny Gaddar remarkably turns out be a nail biting thriller.The movie follows an interesting narrative, that sets up viewers to clearly understand and watch the story unfold. Although the story is neither new, nor brilliant, it is the way in which it is executed that makes all the difference.Casting is brilliant, apart from Rimi Sen, who seems to be an appendage to every multi starer around. Acting was good. Background score fitted well with the movie.The recurring 70s thriller theme was fabulous, and thoroughly enjoyable. Although I have reached barfing point when I see Amitabh Bachchan in any movie, his film clippings were good to watch in JG.A good, unconventional thriller.

There is no dispute on Vijay Anand being the de facto Master of Suspense/Thriller in Indian Cinema history. So when we have a movie that pays tribute to this master (starting from quite an obvious title), purists like me sit up and get ready to tear apart any failings. Consider the astonishment when the movie not only lives up to the name, but dignifies it! That this movie actually got made, and then received a wide-release is in itself a surprise - hardly are any studios or distributors in India who support movies that do not conform to the fabric of established norms of Bollywood. Yet we have this movie. Raghavan gives us a genuine film-noir that is so rare that it is easy to lose it in the mêlée of mediocrity that Bollywood blockbusters represent.An almost gray-scale visual theme with shocks of Red (very Sin City - nobody is innocent), no break-out sessions for song&dance and a crisp running time (135 minutes) alienates it from regular cinema. The movie revels in what it is, and religiously refers to the works it inspires from. Yet, and in doing so, it establishes a unique identity that would live through the said mêlée.The casting choices of the movie also make for a great ensemble, especially with the presence of Dharamendra, whose stature and age are also put to great use. Neil Nitin Mukesh makes his debut, and is already lost in the shadows while lights shine on other star-kids. Yet he plays the most daring and convincing maiden role to establish a sure-fire position on the "to-be-watched" list.Raghavan makes the most inherently "cool" movie of the year, complete in 60's retro garb of film-making (cinematography, editing, character focus, color grading) that fits right in with the film-noir subject. If not for the obvious anachronisms, this could easily have been a movie from the 60s, if not from the Master himself.