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There isn't much time wasted by getting the hero and the heroine into a 'naach gaana' mode and the drama stays focused on the 'diamond' business and the nexus involved. Let's admit it, 'Blood Money' starts off well and introduction scenes pretty much establish each of the characters well too. What one does miss though is the punch in the affair that stays constant for the entire duration of the film. One can well see that first time director Vishal Mahadkar has been clearly inspired by Vishesh Films school of movie making and is following the formula that has been consolidated by the likes of Vikram Bhatt and Mohit Suri. However what one doesn't miss right through the film's narrative is a distinct Bhatt feel to it. The difference here though is that while Emraan Hashmi was carrying a negative streak to him for most part of the film, Kunal takes time to loose his righteous side, only to announce a return in a much faster time period. The film is as 'template ready' as it gets and at times does remind one of 'Jannat'.
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Of course there is the middle act where Kunal lets go off his conscience, only to emerge as the one who would battle it all out in the third act.
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In the middle of this all there is another evil man (Sandeep Sikand). Expectedly his wife (Amrita Puri) is not too happy with the developments but the lure of 'bangla', 'gaadi' and 'ladki' (in this case, Mia Uyeda) is good enough to stray our leading man.
#Blood money movie revew professional
Kunal Khemu is a honest professional who gets sucked into the world of corporate crime as he joins hands with a bigwig (Manish Chaudhary). If it wasn't called a masterpiece I might almost like it.The promos have pretty much established the storyline of 'Blood Money'. Fargo looks lovely, and weird, and has a wry outlook all of it's own but it won't make you laugh out loud, or cry. The Coens are widely celebrated as among the best film-makers of our age, but watching their films, I usually end up wondering whether irony is not a slightly over-rated virtue. Above all else, perhaps, 'Fargo' lacks a beating heart: while nearly moving, and nearly funny, there's a part of this film that refuses to commit itself, that prefers to hold back and mock not just its subjects, but also the idea that a film should take itself seriously. And the combination of deadpan acting and frankly silly plot excess sometimes works and sometimes doesn't. At brief moments (in depicting the relationship of policewoman Marge, played superbly by Frances McDormaid, and her husband), it feels astonishingly tender, yet at others, it feels as if it is simply making fun of the strange folks from outer America with the wacky accents and absurdly stoical demeanour. In a final irony, most of the action doesn't even take place in Fargo, but in the even more obscure town of Brainerd. This is a film where the remote mid-western city of Minneapolis plays the same role as New York in a normal crime story, a hub of civilisation and vice where the hero is a woman (and a heavily pregnant, happily married woman at that) and the chief villain a car salesman of absolutely no slickness whatsoever. The Coen brothers' 'Fargo' is nearly a great film: a beautifully shot, blackly comic thriller that quietly subverts every convention of the genre.