Cast: Kangana Ranaut, Prakash Raj, Mahesh Manjrekar, Paras Arora
Director: Vishwas Patil
Story and review:
It takes huge holds of persistence to survive a film as unusual as Rajjo. Viewing this picture, you need to ponder what surely may have enticed an on-screen character of Kangana Ranawat's bore to dedicate to it. She plays a prostitute in Mumbai's red-light area, dead set to begin another life when she finds love. That introduce, as old as Pakeezah, may have held some guarantee, yet this film goes off in all the wrong bearings, abandoning you overwhelmed and more than once asking yourself: "What's going ahead here?"
Moving at a bordello after a cluster of vulgar men, Rajjo is spotted by really young looking 21-year-old Chandu (Paras Arora), who's in a split second stricken. He bunks school, and uses his days holding hands with her. When you know it, they've gotten married. The point when his folks toss them out, the few battles to uncover a spot to live. After an ungainly vacation used shaking a companion's broken-down van while parking space mechanics sitting outside turn their countenances into orgasmic representations, the pair is again in the city, with no manner by which to bring home the bacon.
Typically, the plot is focused on Rajjo's battle against social order's inclination towards 'fallen ladies', yet the film itself has unpleasant undercurrents. Prakash Raj, playing a neighborhood lawmaker, is threatening as the film's head rapscallion, however his lip-licking dingy routine is coming to be dull. The discoursed are so old-fashioned, you'd suppose they were culled from a former time. Test this: "Kothewali ke pair hamesha keechad mein hote hain." When was the last time you heard somebody talk as that?
Chief Vishwas Patil packs the film with unintentionally funny scenes like one in which whores and transvestites brandishing terrible wigs and make-up beat their midsections as their bawdyhouse is torn down to clear a path for a tall building. The point when Rajjo finds business as a move educator to adivasi kids at a school in the Yeeor Hills, filthy goons from her past attempt each trap in the book to drag her once again to shimmy at a move bar.
Of the throws, its Mahesh Manjrekar who carries a few layers to his character of the eunuch whorehouse possessor Begum. Then, lead on-screen character Paras Arora is annoyingly over-sincere. Tragically, its Kangana Ranaut who is left getting the pieces, and she plays the moving whore with admirable genuineness.
The film, then again, is damned. There's bounty funniness however no trust for this shocking whore's story.
Rating : * 1/2
Director: Vishwas Patil
Story and review:
It takes huge holds of persistence to survive a film as unusual as Rajjo. Viewing this picture, you need to ponder what surely may have enticed an on-screen character of Kangana Ranawat's bore to dedicate to it. She plays a prostitute in Mumbai's red-light area, dead set to begin another life when she finds love. That introduce, as old as Pakeezah, may have held some guarantee, yet this film goes off in all the wrong bearings, abandoning you overwhelmed and more than once asking yourself: "What's going ahead here?"
Moving at a bordello after a cluster of vulgar men, Rajjo is spotted by really young looking 21-year-old Chandu (Paras Arora), who's in a split second stricken. He bunks school, and uses his days holding hands with her. When you know it, they've gotten married. The point when his folks toss them out, the few battles to uncover a spot to live. After an ungainly vacation used shaking a companion's broken-down van while parking space mechanics sitting outside turn their countenances into orgasmic representations, the pair is again in the city, with no manner by which to bring home the bacon.
Typically, the plot is focused on Rajjo's battle against social order's inclination towards 'fallen ladies', yet the film itself has unpleasant undercurrents. Prakash Raj, playing a neighborhood lawmaker, is threatening as the film's head rapscallion, however his lip-licking dingy routine is coming to be dull. The discoursed are so old-fashioned, you'd suppose they were culled from a former time. Test this: "Kothewali ke pair hamesha keechad mein hote hain." When was the last time you heard somebody talk as that?
Chief Vishwas Patil packs the film with unintentionally funny scenes like one in which whores and transvestites brandishing terrible wigs and make-up beat their midsections as their bawdyhouse is torn down to clear a path for a tall building. The point when Rajjo finds business as a move educator to adivasi kids at a school in the Yeeor Hills, filthy goons from her past attempt each trap in the book to drag her once again to shimmy at a move bar.
Of the throws, its Mahesh Manjrekar who carries a few layers to his character of the eunuch whorehouse possessor Begum. Then, lead on-screen character Paras Arora is annoyingly over-sincere. Tragically, its Kangana Ranaut who is left getting the pieces, and she plays the moving whore with admirable genuineness.
The film, then again, is damned. There's bounty funniness however no trust for this shocking whore's story.
Rating : * 1/2
