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Dus Kahaniyaan contains dud Kahaniyaan
The best part of multiplex culture is that it has opened up the way for a whole new range of experimental cinema. Dus Kahaniyaan has ten different stories in one film, each unrelated to the other.
IN THE late 80s Yashraj Films made a serial for Doordarshan called Darpan, each story conveyed a brilliant message. The point was all the stories were meticulously selected and deftly executed. This is precisely where Dus Kahaniyaan falls flat prompting a viewer to mumble dud Kahaniyaan.
 
The most impressive of all stories is a story featuring Mahesh Manjrekar and Neha Dhupia: ‘Strangers in the Dark’ (Or Was it Night).
 
Every anniversary, the couple (Mahesh and Neha) let their secrets (dirty or clean) out. Neha recounts an encounter she can’t forget. The parallel cuttings establish a tale of amorous passion. However, it is towards the end of the story that it is revealed that she was just saving a Muslim kid from the madness of communal carnage.
 
The play, the build up and the resolve have the requisite meat to hook the viewer. Sanjay Gupta has brilliantly executed the story. 
 
 The other story that leaves a mark, not because of its content, but more because of its stylish execution is ‘Rise and Fall’.
 
The parallel cuttings are used to tell the story of two young boys becoming the kingpins of the Mumbai underworld – Baba and Nawab. The takes are simply mind-boggling and this is probably the most expensive of all stories shot by the producer.
 
However, what could have been a gripping saga, is cut short, because you know from the very start that two boys will grow up to be Sanjay Dutt and Suniel Shetty.
 
Meghna Gulzar’s ‘Pooranmashi’ was such a strong story, but since it lacks the tension, it just fell flat, though the performances of both Amrita Singh and Minissha Lamba are first rate. Particularly in the end, where Minissha ends her life to save her mother’s skin, the reined in expressions of Amrita, required an actor of immense restraint.
 
‘Gubbare’ has a very spirited performance by Nana Patekar and is probably a reminder to all those ‘warring’ couples (here, Anita and Rohit Roy) of what they are missing on in their married life.
The other stories are just too implausible or too contrived or just don’t have the substance to sustain the interest of the viewer.
 
The most disappointing of all these stories is ‘Rice Plate’. The most talented actors in the film, Shabana Azmi and Naseeruddin Shah are wasted owing to a weak plot. Furthermore, their performances are also a downer. What a letdown!
 
In ‘Sex On The Beach’, the viewer knows exactly what is going to happen next and as such, the interest is lost. Dino Morea is wooden and Tareena Patel doesn’t possess a figure to don a bikini. Apoorva Lakhia making an appearance at the end evokes little interest.
 
‘Love Dale’ with Anupam Kher, Anuradha Singh, Aftab Shivdasani, Neha Uberoi; ‘Matrimony’ with Mandira Bedi, Arbaaz Khan, Sudhanshu Pandey; ‘High On The Highway’ with Jimmy Shergill, Masumeh Makhija and ‘Zahir’ with Manoj Bajpai, Dia Mirza are some of the other stories.
 
Technically the film is polished, on the creative side only Sanjay Gupta shows skills as a director in a story or two, else even he churns out duds. Music, as in songs, doesn’t have any scope, though the background music in a couple of stories is excellent.
 
In nutshell, the audiences can stay away from these dud Kahaniyaan.  
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In This Article
amrita singh
(7 Articles)
anupam kher
(74 Articles)
dia mirza
(22 Articles)
mahesh manjrekar
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mandira bedi
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