Art & Entertainment

New York

Shows the warped side of American politics and then eulogises it effusively, but despite raising many relevant issues, it falters by not taking a stand.

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New York
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On the face of it, Kabir Khan has quite a bit going against him. There are non-actors like John Abraham and Katrina Kaif playing the rather emotive, dramatic lead roles and not making much of it; then Kabir’s penchant for tackling global politics—the Taliban in his maiden film Kabul Express, and, now 9/11, terrorism and misperceptions about Islam in the West. Relevant, evocative subjects no doubt but lacking a sense of immediacy for Indian viewers, who have been confronting the issues more up close and personal, within their own reality.

However, that doesn’t take away entirely from the film. Despite being a squarely commercial, mainstream effort, New York manages to extend itself into interesting zones. The first striking aspect about the story of three friends—Sameer (John), Maya (Katrina) and Omar (Neil)—of Indian origin studying in America is the easiness with which Indians are placed in the global playground. They are comfortably integrated global citizens rather than NRIs with a strong sense of nostalgia for home. After Pinjar and Jodhaa Akbar, this is a rare film where the hero is Muslim and the heroine a Hindu, normally it’s been the other way round in Bollywood.

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The film is engagingly structured like a Hollywood thriller and boasts of a fabulously shot New York. Omar (Neil) is picked up by the FBI as a terror suspect and the cat-and-mouse game begins—who is the culprit and who is not? What fresh terror attack is this sleeper cell planning? What will all this lead up to? The most impactful character, a persecuted Muslim undergoing rehab with Maya. Little known actor Nawazuddin is moving while giving testimony about his humiliation on camera. Irrfan Khan as the fbi officer Roshan talks in one-liners and displays a deadpan American sense of humour. He and Neil play out the moral debate of the film—how are terrorists created? Who is to blame? Are they not victims themselves? But the debate lapses into heavy-handed, cringe-worthy dialogue-baazi in the end. The film shows the warped side of American politics and then eulogises it effusively. Despite raising many a relevant issue, it falters by not taking a stand.

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High Fives

Bollywood

1. New York
2. Paying Guests
3. X-Men Wolverine (dubbed)
4. Kal Kissne Dekha
5. 99

Hollywood

1. Transformers
2. The Proposal
3. The Hangover
4. Up
5. My Sister’s Keeper

Classical Album

1. The Priests (The Priests)
2. Greatest Hits (Andre Rieu)
3. Amore Infinito (Placido Domingo)
4. Hayden (Antal Dorati)
5. Live in Vienna (Andre Rieu)

Courtesy: Film Information

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