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"When the noise is deafening, can you really hear yourself?"
(If you can't hear it, you're OBVIOUSLY dead)
The whole movie is about a chaotic scenario that occurs during the Ganapathi Mahotsav in Mumbai. It's told in a multi linear narrative as there are mainly 3 stories happening the same time But no attempt is made to forcefully intertwine the stories and that's one interesting and distinct aspect of the film.
All the characters are very well tailored Undoubtedly Tusshar's best movie till date But the actor who dazzles here is Pitobash Tripathy as the eccentric small-time goon Mandook, who steals every scene he's in He is the epicenter of most of the chaos and his role is just a masterpiece
It's surprising and disturbing and has a vein of rich, dark humor coursing through it. After the unforgettable comedy '99', directors Raj Nidimoru and Krishna DK continue their great job with Shor. The script is crisp, tight and spattered with some smart, funny one-liners and is consistent till the end. There are many occasions to laugh out loudly especially the time bomb sequence. The movie also boasts a rivetingly smart climax.
In short, Shor in the City is a total buzz on!
And one note: Do wait till the end credits finish rolling... The surprises don't end with the film...
*** This review may contain spoilers ***
Two years ago a movie released without much of hype and promotion that
was '99" directed by Raj Nidimoru & Krishna DK .. there was something
weirdly brilliant in the film which has some restless characters like
we often come across in a Guy Ritchie films... Coming to 2011 the same
director duo took restlessness in a metro city to another altitude in
"Shor in the city".. Shor means "Noise" and the concept of noise has
been depicted very well throughout the film..Without giving any
spoilers there are 3 stories running parallel in the heart land of
Mumbai and the stories get connected in the end. It is one of the
awesome dark humorous films of India which keeps you involved with the
three stories and how noise plays a imp role internally as well as
externally creating a metamorphosis of each protagonist ... The
restlessness has been portrayed with a sharp editing in the beginning
going to and fro with each stories thus building the tension and that
elevates to higher decibel till the climax happens. Watch it for the
unique treatment of the director duo, the awesome camera work of
Tusshar kanti Ray (who did a superb job earlier this year with urban
classy Dhobi Ghaat) and equally commendable sound design by Jordi
Cirbian which plays the crux of the execution.. And coming to acting
department Pitobash is a new talent to watch for..
Hindi cinema is changing from it routine over the top execution and I sincerely hope more films like Shor in the City are being made which are technically brilliant as well as entertaining. Also Ekta Kappor should be applauded for backing this kind of cinema. (previous year she backed the technically brilliant Dibakar Banerjee's Love Sex aur Dhoka)..Go for this Noise , you will not regret. Thumps up to the director duo.
P.S: For those who love song n dance.. well there is no dance but a beautiful romantic song Saibo which has been shot beautifully..
Another slick Mumbai stories about a bunch of people trying to make
things work in this mad city. The story has five main characters a
small time publisher of pirated books, couple of small time thugs, an
NRI trying to start a business in India and a young boy trying hard to
make his name in corrupt cricket world.
The lives of all the characters intertwine during the course of the plot. Tushar kapoor's acting is just on par at best and so are most actors, including Senthil Ramamurty who plays NRI Abhay in fact seems to be overacting in parts. The surprise element was Pritosh Tripatht playing 'Mandook' he is a revelation very believable in his role of a dumb goon/ sidekick.
The movie has a fresh feel and the song 'Saibo' very melodious. Overall a good attempt by directors Raj Nidimoru and Krishna DK.
Shor in the City may be another dekko at merry, murky, mad city Mumbai
but not once do you get a sense of deja vu. And that's because this
one's a completely quirky cameo on a city that continues to hypnotize
people with its chameleon hues. The film posits the metropolis as a
character in the film. One that is as jagged, enigmatic and hysterical
as the living-breathing protagonists of the film. And yet, despite the
hurtling-towards-doom scenario, there is an undercurrent of hope and
innocence which seems to spring from the most unusual places. Like
Tusshar Kapoor's character and the die-hard aspiring young cricketer's
The threesome of Tusshar, Nikhil and Pitobash form the central core of the film. It's a tangy desi Reservoir Dog's combo, with Nikhil Dwivedi and Pitobash Tripathi providing the edge and Tusshar pitching in the equipoise. His discovery of Paulo Coelho and his uplifting psy-co-low- gee, as he tries to read The Alchemist, dictionary in hand, is so very funny and funky. All this, while he is also trying to discover the sensual charms of his newly-wedded wife, Radhika Apte, and his friends are trying to distract him with their treasure of AK-47s and 56s.
Senthil Ramamurthy's track is equally spicy too, specially his encounters with gangster Zakir Hussain who can't understand why the oaf can't understand the petty gangster's code that rules Mumbai. Not even, when it's a matter of life and death.
With a zany screenplay (Raj Nidimoru and Krishna DK), excellent cinematography by Tushar Kanti Ray and peppy music by Sachin-Jigar, Shor in the City is another breaking-norm film from Ekta Kapoor (producer) after Love Sex aur Dhokha and Once Upon A Time in Mumbaai. Don't miss this black comedy that has heart and soul.
I wasn't expecting much of Krishna D.K. and Raj Nidimoru's 'Shor In The
City'. Despite the rave reviews, I was under the impression that this
would be another one of those slick-wannabe crime thrillers. I'm glad
that I was wrong because the film positively surprised me.
Intertwined stories are becoming quite common in Hindi cinema and I enjoy them when they're told well. Here the link between them isn't significant in the sense that it's not what the story focuses on. The connection is shown smoothly. Each story has its own strength but for me the best one was that of Tilak which was refreshing and it had a wicked sense of humour. The sequence with the child and the bomb and the scenes that follow (concerning the child) still make me laugh. The scenes between Tilak and his wife are also amusing. The Sawan story presents an interesting theme but I felt the romantic angle was a little melodramatic. The Abhay story has a deja vu feel to it but it's well told and engaging.
The cinematography is stunning. It captures the rawness and authenticity of the title city and citylife very well. The background score, sound and art direction are brilliant. The pacing is slightly uneven as it tends to go slow in the middle. The performances of Zakir Hussain, Sendhil Ranamurthy, Tusshar Kapoor, Nikhil Dwivedi, Sundeep Kishan and Pitobash are good too (in the given order). The women hardly get any scope but Radhika Apte is a delight to watch.
The main highlight of 'Shor In The City' is its detailed screenplay which is also co-written by D.K. and Nidimoru (who have done a fantastic job as directors). Overall, 'Shor in the City' has been a pleasant and funny surprise.
Instantly liked the movie. Unarguably, one of the better Bollywood
movies of the year. I would count "Phans gaya re Obama" and "Shor" as
some of the finest products of coming of age Indian cinema.
If I may take the liberty, I perceive "Shor" as a "Dhobi Ghat" (DB) on crack. While DB is very subtle, understated and subdued, "Shor" is pulsating, vibrant, chaotic and tantalizing. Snippets of dark humor here and there, but nothing surmounting to the backdrop of Mumbai. Again, unlike DB the story lines never cross, nor do the characters inter-wine. However, the crisp editing and repeated cuts to cyclical plots make it seem that way. The film essays eleven days worth of events in the lives of three different sets of inhabitants trying to slug it out in Mumbai City leading up to the festival of Ganesha Chaturthi.
Three bootleggers (Tilak, Mandook and Ramesh) live off cheap thrills, carrying out petty crimes, and following up with debauchery in local bars. An expatriate Abhay, relocates to Mumbai to start a business. And an aspiring cricketer, Sawan, looks to make a big name for himself. It is hard to say weather these guys seek out troubles or is it the other way round. Abhay faces local turbulence in the form of street ruffians who demand protection money, and cannot seem to make the city welcoming. He wants to like it, but can't seem to like it. The cricketers' despair is to overcome the extraordinary competition by bribing the officials with money. And Tilak has a plan for future and sees his business expanding if he takes up more responsibilities.
The only common thread which resonates with the" Shor in the city" is the metamorphosis of these inhabitants. Abhay, does he what he has to do; grows out of his mainstream sophistication and grabs the bull by its horns. Sawan, disowns the loot, that he so meticulously plans, for something better than his obsession. Tilak gets a breather and walks out unscathed, as he watches the kid dance to the tune of Ganesha in full glory. Mandook and Ramesh, cannot seem to let go of their tomfoolery, which leads to their predicaments. In doing so, all of them find themselves closer to their hearts and lovers.
The music is quite good. Most of the tracks play when people are running around or riding their bikes. Then there is beautiful depiction of disorder, as the city itself morphs into a loud and tumultuous world. Edgy direction and low-key actors, excluding Tusshar Kapoor, bounce off the screen as every day folks which are very identifiable in sync with the script. Sendhil Ramamoorthy (Abhay) looks radiant and very different from his Mohindar of "Heroes". Shor is a different movie in a very real sense and a very decent watch.
Shor in the city is one of the finest movies released in 2011 from the
usual trash producing bollywood. The treatment is more like babel but
mumbai as the location adds color to the story. It indeed lives as a
character in the movie! Wonderful performances from everyone and the
script is well executed. Its damn right funny at times and pretty
intense when it has to be. The crooks, the mafia, tushar & radhika apte
brings life to the story. The dialogs are hilarious and there is a
small sweet melody which bleeds nothing but romance.
If you like Guy Ritche films or you just want to see something other than the usual run of the mill films, this would be a good choice.
The movie is a cock-tale of three stories simultaneously taking place
in Mumbai within the span of 11 days of Ganesh Chaturthi. The narration
consists of three different class and tastes having different
background struggling in one or the other way to get a place in the
heart of India.
Let me mention one name first of all, Pitobash Tripathy. I remember him right from the 3 Idiots. I knew the man has got the talent and he has accorded himself very well in the character. He brings in the gags in each and every scene he is featured.
The film has got one of the strongest end credits and all thanks to the brilliant scene in the end credit.
Rensil has a descent debut and is same with Preeti Desai.
Stories,though simple, are well narrated. Screenplay is engaging.Writing team comprising Raj Nidimoru, Krishna D.K., Sita Menon has done a good job.
Editing is good.The track fails to show the third story connecting with the other two in the end. Tusshaar Kapoor's track could have been chopped a little.
Music is unconventional.All songs are used in the background score which boosts the movie in a positive way.
In the end, this "Shor" is a must watch!
Mumbai is not a mere city. It's a phenomenon. Paragon of diversity.
Umpteen movies have explored its idiosyncrasies multitude of times that
now any movie on Mumbai, honestly, looks the same. But somehow, I had a
positive expectations from 'Shor in the City'.
Babel like concept of showing several loosely connected events happen in parallel, the characters fading in the chaos of the city. Three petty thieves trying to cash in every opportunity, one NRI trying to establish his own business, One struggling cricketer trying to get entry to the big stage. It's not an out-and-out comedy. So expectations to have lots of laughs is going to fall falter. Promising start. Unfortunately, lost me midway because of mundanity. The last 15 minutes was the saving grace for the initial tedium. Overall, a pretty average movie. Could have been so much better. Watchable. Some appreciable performances (the NRI part is good).
There has indeed been a lot of "shor" throughout 2011. The cacophony of
corruption , the noise made by Anna Hazare against it , the cheer of
India triumphing at the cricket world cup , the hullaballoo of the
royal wedding , the euphoria surrounding Osama's death and not to
forget the annoying IPL trumpet.
We are indeed living in noisy times. Raj Nidimoru and Krishna DK get it right stating with the title itself.Mumbai in the last few years has ceased to be the dream city conjured up by Bollywood over the years. It has emerged into the city of the Slumdog , of Aamir , of Dhobhi Ghat and now as a noisy ,dirty and eccentric metropolis.
Three stories run parallely during the Ganpati festival. Each story deals with fringe characters desperate to make it into the mainstream. So we have petty criminals , foreign returned Indians and an out of favour cricketer. In Inarritu style they criss-cross each other's lives which culminates into the climax.
Hats off to the directors for the mood they lend to the film. The opening credits run amidst chaotic Mumbai streets where cars narrowly miss you. A sense of claustrophobia persists throughout along with intense , scorching heat. The bustling and crowded outdoors , the narrow dingy lanes , the deserted rooftops hardly give you any breathing space. The viewer is immediately overtaken by a sense of visual noise.
The sudden cuts coupled with edgy music and pedestrian language keeps the narrative tight. Again , hardly any breathing space anywhere. The performances blend into the story. Pitobash as Mandook stands out. Special mention for Tusshar (he's dropped the Kapoor) here for whom its been a long journey from Bore to Shor .
The 'shor' gets heightened as Tilak (Tusshar) who been married for a while now hardly even knows his wife. The story unfolds during the Ganesha festival with his idols dotting the city. But its almost as if God himself has been rendered helpless against the times. Is he just an excuse for another festival? While the ending may remind one of Travis Bickle from Taxi Driver , its best left to the viewer to be the judge of it.
This is a film "full of sound and fury" Signifying existence in between -Sushovan Sircar for MuvieMadlyDeeply.com
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