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By Joginder Tuteja ©2005 Bollyvista.com |
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A Still from 'Nazar' |
Divya approaches Inspector Sujata with her 'visions' theory, but she is mocked and rejected. But like a true gentleman, Rohan shows confidence in her and lends her an ear (and later his arms). And from here on starts Divya’s journey into the world of crime, supernatural, sensory visions, mystery, fear, and finally death - which is awaiting at her own door! What is it that links Divya's visions to the serial killings in the city? Why is it that only Divya gets these powers? How do Sujata and Rohan fit into this story of love, hatred, jealousy and crime? The story takes altogether unpredictable twists in the pre-climax and climax portions and just when the picture starts becoming clearer, there is another smart twist in the story that shocks the viewers!
In a genre like 'Nazar', there are two things, which are absolute requirements. One, the movie should remain true to the plot and the viewer shouldn't get a single moment to be diverted. Two, the climax should be strong enough to justify the proceedings of two hours before this. To a large extent, Soni Razdan succeeds in meeting both the requirements. There are no comedy or daddy-mummy-bhaiya angles that make for an unnecessary interruption. Nor are there any unwanted romantic sequences that divert your attention from the plot. Yes, the dream sequence in the second half (when Ashmit fantasizes about Meera in the title song) does stand out as sore thumb and its immediate removal would only make the proceedings crisper! |
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