Assembly of the mystery . Review on Zinda

A tale of Balajit Roy (Sanjay Dutt), imprisoned for 14 years in a secluded Bangkok prison, without knowing the person or motive behind his suffering, unfolds in Zinda over almost three hours. The plot is simple, with a major twist in the climax.

While the first half shows Roy’s frustration, angst, and desire to keep counting each day in a yearning to come face to face with his captor, the second half introduces Rohit Chopra (Abraham) as the person responsible for Roy’s age-long imprisonment.

Why did Chopra make Balajit suffer? What was the intention behind making a stranger go through pain and toruring him beyond limits is what the film is about. To add a dash of spice, there’s Jenny (Lara Dutta), the taxi driver who takes Balajit around town, enmeshing herself in his story in the process.

Just like good music is a package deal with any Yashraj movie, westernised treatment and visual panache comes with every Sanjay Gupta project.

This time, though, Gupta seems to have been watching not only Asian movies (Kung Fu fights, martial arts theme and a red circle denoting Zen), but also Hollywood gore (Saw, Sin City), inspiring him to adapt gut-wrenching torture methods in Zinda.

The monotones in the film (mostly blacks and blues) give it a rich, classy feel, and emphasises the dark theme. Dialogues are crisp and witty, and this has to be John Abraham’s best film performance to date.

The actor has matured to such an extent that even when left alone, he is able to portray what the character requires of him. He totally overpowers the beefy Sanju with his rendition of an eccentric, yet ordinary man, who wants to seek revenge.

From the first frame, it becomes obvious that Sanjay Dutt has left no stone unturned to prepare himself for the role. One of the finest actors in the industry, Dutt delivers when least expected. Watch him break down in the climax, or fight Thai goons with a dagger stabbed in his back. Lara does what she is told — look good, emote (when required), and provide the glamour.

Celina’s role is either chopped (just like what happens to her in the film) or she was supposed to be a mere showpiece.

Be prepared to digest some of the most gory scenes (teeth-plucking, stabbing, slit wrists) shot in Indian cinema. Not for the fainthearted, the violence and blood in the film could have been toned down. Especially rampant close-ups of Sanju using a drilling machine as a weapon of torture.

In the 14 years when Sanju is in prison, John remains ageless. Using visuals like Diana’s death, the Kargil war and the Iraq war, as well as the recent Tsunami, Gupta shows the time line… but John refuses to age.

Not for a family audience, Zinda is aimed at those willing to spend the first half waiting in anticipation — for a better second half. Watch it if you like cinema with style, great visuals, and a director wanting to show off his command over the camera.