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By Taran
Adarsh, January 11, 2008 - 12:24 IST
 In
the 1990s, rape, violence, power, crime, fraud and
abuse -- issues that concern us daily, nationally as
well as internationally, were being depicted on the
Hindi screen with unfailing regularity. Films that
raised a voice and raised an issue faded into oblivion
because a different genre [comedy] gradually took
over. The issues concerning the common man remained
dormant on the Hindi screen.
But Rajkumar Santoshi raises one pertinent issue with
HALLA BOL. A lot has been said and written about the
film bearing an uncanny resemblance to the Jessica Lal
murder case. Does HALLA BOL attempt to recreate the
ghastly incident on celluloid? More on that later!
What's noteworthy is that Santoshi succeeds in
stirring and pricking your conscience. The
accomplished storyteller, who started off with a bang
with GHAYAL, DAMINI and GHATAK, films that raised a
voice and issues, lost his touch in between, although
he appealed greatly in THE LEGEND OF BHAGAT SINGH in
the intervening period. With HALLA BOL, Santoshi is
back with what he's best at -- hard-hitting drama.
HALLA BOL is atypical Santoshi product, which re-opens
wounds, is raw and hard-hitting and has life-like
situations, with a savior who pricks your conscience.
Frankly, HALLA BOL is, without an iota of doubt, a
film that reflects the current times. You can easily
draw parallels with real life. Of course, there're
cinematic liberties; it's not a dry film.
 In
short, we've had enough of meetha [comedies] since the
past few weeks, it's time to have something teekha
[hard-hitting drama] for a change. HALLA BOL leaves
that kind of an impact!
Ashfaque [Ajay Devgan] is a small-town boy aspiring to
be a film star in the Hindi film industry. He joins a
street theatre group run by a reformed dacoit Sidhu [Pankaj
Kapur], who uses street theatre as a medium to bring
about an awakening in the masses.
Ashfaque's determined struggle pays off and he gets a
break in films. He gets a new screen name -- Sameer
Khan. With the passage of time, the roles start
becoming better and he moves up the success ladder in
a very short time. Soon, he becomes Sameer Khan the
superstar -- one who can enact any role with finesse,
get under the skin of any and every character with
ease and walk away with audience applause.
Sadly, amidst all adulation and applause, he slowly
loses his own identity. He forgets his real self and
imbibes all characteristics of the various roles
essayed by him on screen. Corruption takes over his
entire system, alienating him from all loved ones,
including his wife Sneha [Vidya Balan].
A shocking incident at a party changes everything,
rocking Sameer's lifestyle. He gets caught between his
human self on one side and his corrupted superstar
image on the other.
Rajkumar Santoshi interweaves a lot of plots in those
2 + hours. It tells you about the degenerating of a
small-town person who gets swayed by money and power
as he grows big in stature. It tells you about the
games the rich and powerful play. It tells you that
corruption has become a part of our everyday life. It
tells you that a lone voice [raised against injustice]
can multiply into millions gradually. It tells you
that all's not lost, that honesty, integrity and
courage still have an upper hand.
 What
starts off as a movie about a self-obsessed star
changes tracks within 20 minutes of the start, when
the rich, spoilt brats shoot a young girl at a
well-attended party and everyone stands there as mute
spectators. The sequence is simply hair-raising! The
gradual change in Ajay's attitude is also well built
and the film actually gathers momentum at the
intermission point when Ajay decides to testify
against the culprits.
But the story actually takes off after the
intermission when Ajay, aided by Pankaj Kapur, wages a
war against the unscrupulous elements.
The sequence at the minister's palatial residence,
when Ajay urinates on the carpet, is an outstanding,
clapworthy sequence. The viewers would go in a frenzy
at this sequence! Note another scene: The media
persons are grilling Ajay if his wife has walked out
on him and Vidya shoots back, giving the media a
fitting reply. Note yet another sequence: The corrupt
minister's sidekick [Abhay Bhargava] trying to bribe
Pankaj Kapur and Pankaj's reply. And here's another
gem: Pankaj Kapur's lengthy outburst when Ajay lies in
the hospital. Brilliant sequences all, which bear the
stamp of a genius!
However, the film can do with some trimming in the
second hour. A few sequences can be trimmed for a much
stronger impact. Also, the climax could've been more
powerful.
Santoshi is in form after a gap. The film brings back
memories of Santoshi's earlier works. Sukhwinder's
music is okay. 'Na Guzre Huwe Pal' is a wonderful
track, while the cry of war, the title track, enthuses
you. Cinematography [N. Nataraja Subramaniam] is
perfect. Dialogues [Santoshi, Ranjit Kapoor] are raw,
but appealing. In fact, there are a number of
clap-trap lines in the enterprise.
 Every
performance in HALLA BOL stays etched in your memory.
Ajay proves yet again that he's a magnificent actor.
He conveys a lot through his expressions. Here's yet
another award-worthy performance from one of the
finest actors of the country. Vidya's role may not be
as substantial as Ajay and Pankaj Kapur, but she's
fiery in the sequences. Pankaj is awesome yet again. A
power-packed performance. In fact, he's to HALLA BOL
what Sunny Deol was to DAMINI. Darshan Jariwala is
superb, changing expressions like a chameleon.
Anjan Srivastava manages to create an impact. Abhay
Bhargava is efficient. The actress enacting the role
of the victim's sister is very good.
The film has a host of stars making appearances, which
include Tusshar Kapoor, Jackie Shroff, Sridevi and
Boney Kapoor, Kareena Kapoor, Neeraj Vora and Aarti
Chhabria.
On the whole, HALLA BOL is a powerful film that has
its heart in the right place. At the box-office, HALLA
BOL has the power to grow with a strong word of mouth.
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