Thankfully the romance angle with Minissha Lamba is relegated to the backburner though not before appending a transition song. The metaphorical conversations between the two are crisply written.
On the upside, Samar Khan captures a splendid aura while directing the scenes involving Kay Kay Menon and Rahul Bose. So despite the neatly executed climax courtroom drama (with a brilliant implosive outburst by Kay Kay Menon) the culmination doesn't go beyond your assumption or imagination. It doesn't take a rocket scientist to perceive the premise of the issue of the film which makes the second half come across as conveniently predictable. For instance, Siddhanth very assertively claims on a heroic note that his client is not guilty (even before he starts investigating the case) and you feel like blaming the script of being guilty of the typically overconfident Bollywood hero. While the treatment is sufficiently subtle and subdued, at some instances it isn't pardoned of filmi liberties. But despite that Siddhanth's change of mind doesn't come across as convincingly. The pace is intentionally slow and adds to the effect as each scene takes its own time to mature. The central plot kicks off only by the interval point. But in contrast he spends too much time on the buildup. The director lends his finest nuances in setting up the military backdrop of the film. Things take a turn when he fights the case against Akash. But once he meets Brigadier Pratap Singh (Kay Kay Menon) to whose regiment Javed belonged, his viewpoint changes and he is imbibed with his sense of duty and responsibility.
SHAURYA MOVIE R TRIAL
Basically they intend to maneuver a fake trial whereby Akash gets his victory and Siddhanth enjoys his holiday.Įxpectedly Siddhanth seems to be least interested in defending Javed initially. Akash manages to manipulate a posting for Siddhanth too but as the defense lawyer of a convict Javed Khan (Deepak Dobriyal) whose case he has to investigate and fight against the prosecutor who would be Akash himself. Rather he prefers the paragliding pretext in Kashmir valley. Close friend Major Siddhanth Chaudhary (Rahul Bose) wants to accompany but not on official grounds. Major Akash Kapoor (Javed Jaffrey) gets a military posting in Srinagar. One wonders what clicked Samar Khan first - the issue or the inspiration? And while Indianizing the Hollywood plot, the director decides to raise the issue of the victimized Muslim. Samar Khan does the same.Ĭhoosing an army backdrop, Shaurya entails a court martial trail evidently inspired from the Tom Cruise - Jack Nicholson starrer 'A Few Good Men'. And coincidentally in all cases, Bollywood is inclined to show the minority being wronged by law.
From Arbaaz Khan in Garv as the victim to Suniel Shetty in Main Hoon Na as the victimizer and a plethora of prototypes in between, we have been there and seen that enough number of times. But then haven't we been witnessing that for over a decade now ever since Mukesh Rishi convincingly raised the issue in Sarfarosh for the first time. Undoubtedly Samar Khan's intentions are decent and dignified enough on highlighting the plight of the minority community in our society. The audacity to represent a social theme and yet present it entertainingly! But director Samar Khan confounds entertainment with an item number here and a couple of deftly executed scenes there.
The courage to choose an innovative context as the core and crux of the film! But a few intellectual filmmakers still believe that the issue of 'victimized Muslims', over-exploited in Bollywood by now, is fresh to films as yet. The nerve to make an original film in an industry where every third film is derived! But a few good men from Bollywood still confuse it to adapting English films to an Indian context.