- Produced by: P.P. Tiwari
- Banner: Remacz Films
- Direction: Reshmi Mitra
- D.O.P.: Kumud Verma
- Editor: M. Sushmit
- Music: Samidh Mukherjee
- Lyrics: Samidh Mukherjee, Priyo Chatterjee and Goutam-Sushmit
- Cast: Hiraan, Pooja, Arun Banerjee, Debdoot Ghosh, Shantilal Mukherjee, Dolon Roy, and others
- Rating: 03/10
Is too much hype good for a film’s box office takings or is it adverse for its fate? Like the box office gamble, it is an uncertain system and one really does not know the definite answer. But so far as P.P. Tewari’s Macho Mustafaa’s destiny is concerned, the question becomes dicey in the backdrop of the producers insisting that this is the most expensive Bengali film ever made. The budget, that the producer says amounts to Rs.7 crore, went up by another Rs.50 lakh because there was a change in the name of the film’s second name in its two-word title because it was feared that the word might hurt the sentiments of a certain community.
The film has a pencil-slim storyline is full of incredible situations that permit you to throw both caution and logic to the winds and simply try to take joy from the sexy body of resurrected hero Hiraan who portrays Nabab, the younger spoilt son of a rich family who whiles away his time on his expensive two-wheeler whose EMI is being paid every month by his elder brother. \He meets a pretty damsel called Diya (Pooja Bose) and the two fall head-over-heels in love within a matter of minutes which is not really wrong in an age of social media love affairs and NET matchmaking. But the problem is that the entire city happens to be in the command of one Bidhan Chattoraj (Arun Banerjee) who runs a police state as if the government does not exist and Diya is his daughter! Sholay style, Chattoraj sets his goons after Nabab’s entire family and kills them all except Nabab’s father and sister-in-law. They also gang-rape and kill his teenage sister who always wears very short skirts around the house.
Nabab finds himself behind bars in the police station and remains there even after he is declared to be mentally unstable which he is not. Some semblance of seriousness enters into the film when the human rights head Bidisha (Dolon Roy) steps in demanding justice for Nabab. The editing of the film makes one wonder where one scene begins and the other ends because the camera goes on a merry-go-round and tries to compete with the bizarre goings-on within the film. Pooja has a refreshing screen presence and has great potential and can go places if placed under a good director and a better banner. Hiraan who spans almost every other frame of the film is very good but his abs are wasted in an inane role in an inane film. Dolon Roy is very good in a brief role as the human rights person but Shantilal Mukherjee has done outstanding roles in other films including Kahani. Samidh Mukherjee’s music is okay but the Mauritius scenario is like it is in every other masala film. One only wishes that with all that kind of loolah, the film at least rakes in the money spent in making it! But the hopes are rather dim.
Two stars for Hiraan and Pooja and Dolon Roy and one for the music.