Zinda Movie Review

In the past, Gupta borrowed stories from the West. This time, for ZINDA, he looks at the East for inspiration. Based on acclaimed director Park Chan-Wookís Korean classic OLDBOY [2003], what sets apart ZINDA from films of its ilk is its interesting premise.

Besides a story that is indeed a novel experience for Indian moviegoers, ZINDA is embellished with several twists and turns in the tale that come as a complete shocker. For those who havenít watched the original, ZINDA will take you by complete surprise.

Also, the look and tone of the film is definitely not for the faint-hearted. Like Guptaís last effort [MUSAFIR], ZINDA is provocative and graphic and frankly, you ought to have a strong stomach to absorb the film.

Now the flipsideÖ

If the aforementioned reasons are its USPs, theyíre also the factors that may prove dampeners, stumbling blocks. Why, did you ask? Hereís whyÖ

Letís begin with two phrases: Jaisa des, waisa bhes [in Hindi] and When in Rome, do as the Romans do [in English]. Even though the premise of ZINDA is refreshingly different, itís not the type that would appeal to Indian moviegoers. The story -- a revenge saga -- is too dark and gruesome for an average Indian moviegoer to stomach.



To sum up, ZINDA strays into a hitherto unknown alley, which is indeed commendable, but the content has its limitations. A concept like ZINDA is too ahead of its times for the aam junta. Bollywood cinema has matured, but not to this extent!

Bala [Sanjay Dutt], a software engineer, arrives in Bangkok with his wife Nisha [Celina Jaitley]. However, one fine day, he is abducted by someone for mysterious reasons. When Bala wakes up, he finds himself in a locked room, with the only human contact being a faceless person who delivers his meals.

His only window to the outside world is the television in his room and from it, Bala learns that his wife Nisha [Celina Jaitley] has been murdered and he is the prime suspect. Days become weeks, weeks become months, and months turn into years as Bala remains locked up, with the television bringing images of a changing world [WTC bombings, Tsunami].

Then, inexplicably, Bala is released after spending fourteen years locked away. However, he quickly learns that his ordeal is far from over, as he is handed some money and a cell phone, triggering the next stage of the twisted game that is being directed by Balaís still-unknown tormentor.

Bala starts his hunt for the unknown enemy. Circumstances bring him close to Jenny [Lara Dutta], a cabbie, who gets to know his ordeal. With Jenny and his friendís [Mahesh Manjrekar] help, Bala pieces together clues that eventually lead him to the person responsible for his imprisonment -- a businessman named Rohit Chopra [John Abraham].



Like Guptaís earlier ventures, especially KAANTE and MUSAFIR, the tone of ZINDA is dark. Itís not one of those revenge stories that starts with light moments, gets tense in between, but ends on a positive note. Gupta presents the stark realities without concealing the rawness. Be it Sanju using a drilling machine on a gangsterís shoulder or a hammer to extract Raj Zutshiís teeth or Sanjuís hands being stitched up, the sequences are hair-raising and, frankly speaking, quite offputting.

The first hour of the film keeps you on tenterhooks. The mystery deepens as Sanju is abducted and confined to solitary imprisonment by a faceless enemy. The various sequences in the room when Sanju pleads helplessness and then comes to terms with destiny are master strokes. You canít help but marvel at the execution of those sequences!

The intermission point is where the mystery deepens further. With John Abraham surfacing on the screen, you realize that the fight has just begun. But the post-interval portions arenít as engaging. The first question that crosses your mind is, Why didnít John eliminate Sanju while he was being held captive? Why let him free in the first place? Itís a gaping flaw in the screenplay. Perhaps, John wanted Sanju to feel the pain by revealing the truth about his [Sanju] 14-year-old daughter, but the end seems quite abrupt. How does the daughter call him up? How does she know him in the first place? How is she sitting safely at home? Wasnít she being auctioned in the flesh market? No answers are offered!

Thereís no denying that Gupta is one of the most stylish film-makers this side of the Atlantic and with ZINDA he proves that he dares to tread the untrodden path vis-ŗ-vis the content, but the story isnít the type that would meet with wholehearted approval. Those with an appetite for violent and dark films may go for it, but the faint-hearted will choose to stay away.



Itís difficult to think of anyone other than Sanjay Dutt for the role of the protagonist. The actor is stupendous and the cold look he carries right through the film is what makes the character so believable. An award worthy performance indeed!

Sanjuís nemesis, John Abraham, is an odd casting decision. While he certainly exudes the cold and calculated malevolence of a man with nothing but revenge on his mind, he seems a little on the young side for the role in question. He is first-rate nevertheless. Lara Dutta is passable. She doesnít get much scope in the film. Celina Jaitley is hardly there. Mahesh Manjrekar is routine. His death sequence is well executed though.

On the whole, ZINDA is an interesting story told in a stylish format. Unfortunately, a theme like this has its limitations: The dry, dark and gruesome film will appeal to the guys [youth] more than the fairer sex, but itís definitely not for the ladies/families. At the box-office, therefore, the film should find patronage at metros mainly.