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'Deewane' A waste of talents

By Tanuka Chakraverty
Film critic, ApunKaChoice.Com

If Urmila Matondkar had the hopes of reviving her career with Deewane then she is in for some good jolts.

Deewane has all the ingredients that can sell a film -- slick violence, sizzling Urmila who rips her clothes to seduce her beau, the suave looking Ajay Devgan, a guest-appearance and a third angle possibility by Mahima Choudhury, some foot-tapping music to which Urmila matches her body's rhythm, foreign locales and Johny Lever - but the film falls with a thud.

The

main reason behind the lackluster presentation of Harry Baweja is a weak plot and a weaker script. Compliment it with some unrealistic moments and what you get is not tolerable beyond the first one hour.

Hindi filmmakers have the uncanny habit of perpetuating a thing that has, at some point of time, clicked with the audience in the past. Therefore, whatever the storyline is, however non-fussy the role of Urmila is, her gyrations in wilderness, or against the seas is a must in the all the films that she stars in, except probably a few of Ram Gopal Verma's films.

Deewane frequently digresses, telling the story of another Ajay Devgan who is a crook, who steals, but is benevolent, dreams of a 'Sapna'. Therefore, stage dancer Mahima's affections for him are bound to remain unreciprocated.

On the other hand, 'Sapna' (Urmila) is head over heels committed to her childhood sweetheart Vishaal (Ajay Devgan again) an uprighteous cop who goes into coma after being hit by bullets by the villains. It is a story of double roles for the nth time. To perplex the villains and not to shock the family of cop Devgan the police chief trains crook Devgan and makes him ready to take on the garb of cop Devgan.

And to stretch absurdities to the absurdest length, never for once can the family and the heroine make out the real 'Vishaal' from the fake one.

The rest of the story consists of a dance or two by Urmila, some sobbing by Mahima and some mindless violence by the two Devgans.

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