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Krantiveer – The Revolution

Mehul Kumar, who once churned out one hit after another, is back after a hiatus of six years. This time, he tries to cash in on the success of Krantiveer (1994) with a sequel. Questions: How many viewers today are familiar with Krantiveer? Why make a sequel when no one remembers the original?

Perhaps Mehul Kumar is playing safe by making a sequel to his last hit. After Krantiveer, all his five releases were duds – Mrityudaata (1997), Lahoo Ke Do Rang (1997), Kohram (1999), Kitne Door… Kitne Paas (2002) and Jaago (2004).

The protagonist is the daughter of the character played by Nana Patekar (he was the protagonist in the first version). She wants to carry on her father’s unfinished agenda of changing the world. PS: The sequel has the same theme.

Like her dad, she too wants to rid the nation of corruption, including politicians who have no desire for clean governance. PS: The original had the same storyline.

She joins a TV channel and becomes a firebrand investigative journalist hell-bent on exposing every scam in sight. Will she succeed, is the crux of the film. PS: Dimple Kapadia played the fiery journalist who had the same vision in the original.

Allow us to define the meaning of ‘sequel’ for Mehul Kumar and his dialogue writer. It means ‘taking the story forward’. Instead, they have merely added characters but have retained the storyline. That’s a ‘remake’, not a ‘sequel’!

Here’s some more déjà vu. Instead of talking, everyone in the film seems to love yelling, again a la the original. How we wish that apart from changing the actors, Kumar & Co had changed the style too. How can a formula which worked in the ‘90s work today?

The filmmaker seems intent on creating an awakening among the youth, to take up the reins of governance in a country dominated by corrupt politicians. Alas, Kumar & Co seem to equate inspiration with yelling. Also, the film is too preachy and makes you want to switch off.

The technique too is old-fashioned. What made the first version click were the brilliant dialogues (by K K Singh) delivered by people known for their dialogue delivery. The sequel, however, lacks punch. In fact, some dialogues seem to have been inserted merely to justify the next sequence.

Mehul Kumar is handicapped by his poor screenplay and dialogues, and his outdated technique of filming. Editing is not up to the mark. Music is avoidable. Cinematography is so-so.

Performance-wise, it seems he or she who yelled loudest passed muster! There is no emoting. Samir Aftab tries hard to use his eyes to express but in vain. Aditya Singh Rajput acts well but his character has not been penned well. Jahan Bloch fails to impress. Farida Jalal and Govind Namdeo are strictly all right.

In a nutshell, the film’s tag says ‘The Revolution’ but there will be no revolution at the ticket counter.

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