IMDB Rating: 8.1/10
Directed: Akarsh Khurana
Released Date: 3 August 2018
Types: Comedy ,Drama
Film Stars: Irrfan Khan, Dulquer Salmaan, Mithila Palkar
Movie Quality: pDVDRip
File Size: 698MB
Karwaan movie review: Irrfan Khan and Dulquer Salmaan are the perfect foil to each other’s characters, while Mithila Palkar more than holds her own against them. Rating: 4/5.
As mix-ups go, this one is weird. A man loses his father in an accident but the body delivered to him is of the mother of a woman in another state. Avinash Rajpurohit was not fond of his Dad, but duty calls and he agrees to meet the lady to exchange coffins somewhere between Bengaluru where he lives and her home in Kochi. A few hundred kilometres separate the two cities but Avinash travels a lifetime on that journey he makes with his friend Shaukat and a young woman called Tanya who joins them along the way.
Writer-director Akarsh Khurana’s Karwaan is a quiet film. Apart from the tragedy that kicks off the narrative, nothing much seems to happen here yet a lot does. It is a story of rumination and awakenings, and as in life, here too, such things rarely happen with drum rolls and bugle calls.
Karwaan has made news for two reasons so far: because it has been released even as Bollywood actor Irrfan battles a debilitating illness and because it is the first Bollywood film featuring Mollywood heartthrob Dulquer Salmaan, DQ to his fans. The news now is this: Irrfan and DQ live up to their formidable reputations here, and are both absolute dears in this sweetly understated road flick.
Irrfan’s Shaukat is a garrulous fellow, exceedingly old fashioned in many respects and for the most part, immensely funny. “For the most part” because I felt uncomfortable with the humourisation of his racist attitude towards a white couple he encounters. I know I know, some of you will say white people do not need the protection of an Indian film critic, but excuse me for pointing out that othering is not okay even when directed at powerful communities, though of course I am not equating it with racism towards the marginalised. As for that cliched old defence, “this is just a portrayal of reality”, the answer is: of course conservatives do exist in the real world, but this is the only point in Karwaan where the storyteller’s own tone condones the character’s obnoxious behaviour. This is particularly jarring because in another area of his life, Shaukat proves to be a remarkably progressive fellow and challenger of an appalling status quo.
That discomfiting scene apart, Shaukat is amusing throughout. And Irrfan’s dialogue delivery is a killer as always. His is the more striking character of the two leads, but DQ rises to the challenge of playing the less obviously likeable Avinash, a role that on the surface also appears less challenging.WATCH ONLINE DOWNLOAD TORRENT & DIRECT LINK SINGLE DOWNLOAD LINKS
That discomfiting scene apart, Shaukat is amusing throughout. And Irrfan’s dialogue delivery is a killer as always. His is the more striking character of the two leads, but DQ rises to the challenge of playing the less obviously likeable Avinash, a role that on the surface also appears less challenging.
The promotions of Karwaan have hopefully given Bollywood viewers an idea of exactly how big a deal this young man is in Mollywood. His matinee idol looks, excellent acting and discerning choices have catapulted him to the top of his profession in just six years. Add to this blend his fluid personality, and you get the perfect package for superstardom across industries. His career path indicates that he may well get there considering that at 32 he is already a dominant force in Mollywood, has made his mark with a handful of films in Kollywood, and this year has forayed into both Tollywood and Bollywood.
DQ brings to Karwaan the attributes that have made him such a perfect fit in Mollywood, a film industry that pushes the envelope far more than India’s Big Three, Kollywood, Tollywood and Bollywood. He is handsome but not self-conscious, and in Karwaan as in all his works, he conveys the impression of being unaware of his hotness, which is such an attractive quality in a star, such an essential quality in a true actor and so crucial to his unobtrusively gripping performance as the self-effacing Avinash, forever held back by his internal turmoil and bitterness. Besides, his commitment to his work is evident in his Hindi accent, which is unbelievably good for a man who has never lived in the Hindi belt.
The film offers a nuance not often seen in Hindi cinema or Indian cinema at large, when it speaks of a generation gap between youngsters separated in age by perhaps a decade. It also does not see a romance as essential in every relationship between two attractive people of the opposite sex, though it acknowledges that such sparks are a possibility. And it takes a brave stand on domestic violence.
Karwaan’s effectiveness lies in the fact that it rises above its pre-interval indolence. Critics often speak of “the curse of the second half” afflicting so many films that start off well and then peter out. Karwaan is the opposite. It revs up post-interval, not merely in terms of actual physical events and encounters, but in the character graphs. What remains consistent from start to finish is cinematographer Avinash Arun’s inventive, expansive frames. My favourite of them all involves a low angle shot of DQ reading a paper framed against a backdrop of thick green trees.