Kaanchi: The Unbreakable Movie Info:
An innocent beauty from the country takes on three powerful and corrupt men.
Initial release: April 24, 2014 (Kuwait)
Director: Subhash Ghai
Running time: 2h 31m.
Screenplay: Subhash Ghai.
Subhash Ghai is back on the director’s chair after a hiatus. After YUVVRAAJ . It’s indeed a long sabbatical, considering the Showman has continuously churned out movies in varied genres. Mostly entertainers. With KAANCHI, Ghai decides to entertain in his own way, yet attempts to drive home a message.
A number of film-makers have attempted movies on the woman of today. Someone who is feircely independent and charters her own path in life. More recently, Vikas Bahl’s QUEEN narrated the story of one such woman. In KAANCHI, Ghai attempts to narrate the story of a small-town girl who locks horns with the high and mighty over personal issues. An interesting concept indeed… However, what could’ve been a lone woman’s fight against the corrupt and evil forces loses track midway since Ghai tries to pack in just about every commercial ingredient to woo the spectator. More on that later!
First, the premise! KAANCHI tells the story of Kaanchi [Mishti], whose life turn upside down when the young son [Rishabh Sinha] of a politician [Mithun Chakraborty] unleashes hell in her life. She decides to pick the pieces of her life by shifting to Mumbai and settling the score with the oppressors.
KAANCHI starts off very well, with Ghai capturing certain moments that stay with you. The first hour has several engaging and interesting episodes, while the twist in the tale that leaves Kaanchi shattered is the highpoint of the movie… one expects the post-interval portions to only go forward from this point. Sadly, KAANCHI hits a rough patch in the second hour.
What could’ve been a thought-provoking film deviates into sub-plots that seem far from interesting. For instance, the entire track involving Rishi Kapoor and Mishti looks ridiculous. Additionally, the portions that show Mishti landing herself a job in Mithun’s home and the sequence when she discovers the relationship Mithun shares with an important member of his political party is absolutely weird. Even the closing stages — Mishti fighting the opponent — is far from real. Like I pointed out earlier, Ghai tries to pack in too much for the entertainment-seeking spectator, which, in the final tally, appears forced in the scheme of things. The run time is another deterrent, which could’ve controlled had Ghai eliminated the unwanted tracks in the narrative.