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By Taran
Adarsh, January 25, 2008 - 14:19 IST
 Vijay
Anand's evergreen classics TEESRI MANZIL and JEWEL
THIEF have been inspirations for many a film-maker
over the decades. A number of films have borrowed from
these two classics that are rightfully acknowledged as
textbooks in film-making. Director Rohit Shetty also
seems like a big fan of TEESRI MANZIL, since the
script of his third outing SUNDAY is structured on
those lines. But, in actuality, SUNDAY is inspired by
the Telugu film ANUKOKUNDA OKA ROJU [2005].
A lady is murdered at the very outset and the pieces
of the jigsaw puzzle are fixed in an interesting and
stylish way. Any whodunit works if and only if the
needle of suspicion points at the various assorted
characters all through the narrative. And SUNDAY has
that quality, it keeps you guessing!
As a storyteller, Shetty whitewashes his previous
highly competitive works [ZAMEEN, GOLMAAL] and comes
up with his most watchable experience so far. Oh yes,
there are glitches [in the second hour specifically]
and Shetty should've taken care of them, but let's not
fuss over trivial matters.
To sum up, SUNDAY strikes the right balance between
the two diverse genres [suspense, comedy]. It's a film
that holds appeal more for the aam junta, not for the
hard-nosed critics. SUNDAY can be summed up in four
words: Engaging, engrossing, entertaining and
enjoyable!
 A
dead body found floating in a lake… Unexplained
scratch marks on her neck… Supari killers out to kill
her… A taxi driver who yells 'bhoot, bhoot' every time
he sees her…
Sehar's [Ayesha Takia] world turns topsy-turvy when
she gets a clue about the missing Sunday of her life,
which points to a possible violent attack on her.
A.C.P. Rajveer [Ajay Devgan] takes up the case to sort
out the complicated and jumbled up threads of Sehar's
life.
In the process of solving Sehar's case, it comes to
light that on Sunday, different people interacted with
her and amongst them, one could be the accused. The
lot included Ballu [Arshad Warsi], the taxi driver and
his friend Kumar [Irrfan Khan], a struggling actor,
Ritu [Anjana Sukhani], Sehar's close friend, a scary
and suspicious character [Murli Sharma], who resides
in Sehar's society and the group whom she had come
across while partying at the discotheque.
Rajveer is convinced that Sehar is innocent, but he is
also equally sure that she is linked to everything. Is
Sehar really as innocent as she claims to be?
Even though the two genres [suspense, comedy] move
concurrently, the suspense element isn't heavy on your
mind and nor are the comic portions of the nonsensical
variety that one laughs at the spur of the moment and
forgets all about them the very next moment. The funda
is clear: Make a wholesome entertainer that works for
an avid moviegoer.
 Although
the story isn't path-breaking, the screenplay [K.
Subhaash, Robin Bhatt and Tushar Hiranandani] holds
your attention all through the first hour. The writing
is highly competent in this hour. It's only in the
second half that things slow down. Reason? There's an
unwanted song ['Pyaar To Hona Hi Hai'] and an
unrequired, long-drawn chase [with cars somersaulting
in the air], that tapers the impact. Even the climax
should've been more convincing. The shock-value -- so
vital when the murderer's identity is unveiled -- is
missing in the end. Also, a more prominent actor
would've only enhanced the impact.
The screenplay writers should've worked harder on the
second hour, since that's the most important aspect of
any whodunit. Yet, all said and done, director Rohit
Shetty steers the film through turbulent waters with
his expert execution.
The songs -- by various music composers -- give the
film a varied sound. 'Kashmakash' [Shibani Kashyap] is
the best of the lot. Filmed on Esha Deol [excellent],
the song boasts of an imaginative picturization. 'Manzar'
[Raghav Sachar] is another winner. This one's filmed
on Tusshar [dances very well]; it has a catchy beat
and an equally arresting choreography. The stunts [Jai
Singh] are stylishly executed. Aseem Bajaj's
cinematography is topnotch. He proves yet again that
he's amongst the best in the business. Dialogues [Sajid-Farhad]
are admirable; very much in snyc with the mood of the
film. The sets, especially in the Esha Deol track, are
awesome.
 The
performances are likable! Known for intense roles,
Ajay Devgan shows a flair for comic moments and gets
it right. SUNDAY would only multiply his fan-following
since the actor has started deviating into areas that
he seldom visited as an actor. As always, Arshad Warsi
is in terrific form. It's a treat to watch him essay
his role with such precision. Irrfan is another actor
who surprises you all the while. In fact, this combo
-- Arshad and Irrfan -- compliment each other very
well.
Ayesha Takia is a complete natural. The best thing
about her is, she never makes you feel she's acting.
She just slips into her role so well. Her introduction
-- her dubbing for an animation film -- is excellent.
Anjana Sukhani doesn't get any scope. Mukesh Tiwari is
first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar
are alright.
On the whole, SUNDAY is a well-made entertainer that
has the potential to click with moviegoers. It also
has the advantage of having open weeks ahead, with no
major opposition till 15th February. Should end the
drought that the industry is facing after a flurry of
flops.
Rating: * * * 1/2
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