Right Yaaa Wrong (2010) Hindi Movie Review

March 13, 2010 (Calcutta Tube):Right Yaaa Wrong is a 2010 Hindi Thriller directed by Neeraj Pathak starring Sunny Deol, Irrfan Khan, Konkona Sen Sharma and Eesha Koppikar and others. It is a good intelligent thriller for all.

March 13, 2010 (Calcutta Tube):Right Yaaa Wrong is a 2010 Hindi Thriller directed by Neeraj Pathak starring Sunny Deol, Irrfan Khan, Konkona Sen Sharma and Eesha Koppikar and others. It is a good intelligent thriller for all.

  • Rating: 3.5 out of 5*
  • Starring: Sunny Deol, Irrfan Khan, Konkona Sen Sharma and Eesha Koppikar
  • Director: Neeraj Pathak

The film opens with Ajay (Sunny) being shot and immediately going in a flashback mode. We are shown Ajay and Vinay Patnaik (Irrfan) being top cops of Goa Police Force and also thick friends. While Ajay is a forgiving yet at the same time hot headed and impulsive cop, Vinay is the cooler one who analyzes every crime in depth. Ajay is married for 10 years to Anshita (Eesha) and has a kid whereas Vinay is single. Ajay however, is unaware that his wife is having sexual relationship with his own step brother Sanjay (Sanjay Singh). During a police encounter, dreaded gangster Borris (Aryan Vaid) before dying, shoots two bullets at Ajay that makes the daring cop paralyzed waist downwards. Frustrated leaving a life confined to a wheel chair, Ajay requests Anshita and his step brother to kill him and get the Rs. 5 crore insurance claim, that is on his name. He plans it all well for them so that no evidence is left behind. All goes well according to the plan, with the two even shooting Ajay down. But, instead of him it is Eesha and Sanjay who are shot dead by Ajay. Police investigations begin with Vinay heading them. It appears like an open and shut case but just before filing the final report, Vinay suspects something wrong. He manages to secure an inquiry against Ajay accusing him of murdering his wife and step brother. However, Vinay’s lawyer sister Radhika (Konkona) comes in aid of Ajay. What follows next is a game played between two strong intelligent minds of that of Ajay and Vinay.

Writer turned director Neeraj Pathak (Pardes, Apne) makes a good debut as a director, showing no hints of being a first time director. His writing holds the interesting plot together. With the slow half proceeding a bit slower, the second half opens with a bang with a big shocker. Post that, the film picks from being above average to good with very interesting sequences, especially between Irrfan and Sunny. The courtroom scenes are very good as well. The climax though appears a bit stretched ends up with a good culmination. Monty Sharma’s music disappoints. The production values are fair.

Sunny Deol shows how well he can act in a role that requires underplay rather than just bang bang action which he is more associated with. Irrfan Khan matches him at every step and never disappoints. Konkona enters the scene well post the interval but nonetheless manages to leave her impression. Eesha Koppikar looks ravishing and fits her part. Sanjay Singh is okay whereas playing the cop team, Ashok Samarth, Kamlesh Sawant and Deepal Shaw lend able support. Suhasini Mulay, Govind Namdeo playing the judge and public prosecutor respectively do a fair job.

At a time when wafer thin plot lines are being presented as films, Right Yaaa Wrong stands out for having a good solid plot and the requisite acting talent to carry it on convincingly. Do watch Right Yaaa Wrong if you like intelligent thrillers.

-Sampurn Wire

Right Ya Wrong Film Review 2

Film: ‘Right Yaaa Wrong’; Starring: Sunny Deol, Irrfan Khan, Konkona Sen-Sharma, Esha Koppikar; Director: Neerraj Pathak; Rating: ***

Don’t breathe. Don’t dare even blink. And please forget that visit to the loo. Damn, even the bag of popcorn will be forgotten on your clenched lap.

‘Right Yaaa Wrong’ is the surprise shocker of the year. If you’ve forgotten that jump-out-of-the-seat feeling then it’s time to nudge it awake again.

Debutant director Neerraj Pathak deserves a welcoming salute. He puts together a thriller that’s as much a homage to Alfred Hitchcock and Brian de Palma as our own Abbas-Mustan.

‘And Right Yaaa Wrong’ still emerges original and strong.

An intricate jigsaw that always stays a step ahead of the audience, ‘Right Yaaa Wrong’ makes a penetrating comment on how the country’s legal system can be subverted by a clever hand. More importantly the taut and briskly-paced script suggests that the yin and yang concepts of right and wrong are not only ambivalent but also interchangeable when the context is right.

Sunny Deol, back in shape in every which way, plays a cop who in the first two reels loses the power to walk. But the narration simply sprints along through a series of unpredictable twists and turns that take the striking characters across a maze of intrigue and conspiracy.

Truly, the screenplay is far superior to its execution. And that’s entirely a comment on the above-average calibre of the writing.

Writers Girish Dhamija, Sanjay Puran Singh Chauhan and Neerraj Pathak pack in a walloping punch in both pre-and post-interval hours.

The characters and their motivations address themselves to adventure-thriller-suspense world of James Hadley Chase and Sidney Sheldon. The men are brave and heroic, clever and fearless. Even when cuckolded, Deol is dignified in the embrace of betrayal.

Editor Ashfaq Makrani juxtaposes moments of tense suspense with glimpses of heightened poignancy. This is murder in mellow shades.

The cop’s wife played by Esha Koppikar is unabashedly wanton. Outwardly she’s the duty-bound cop’s home-bound wife with a perfect home and cute son (Ali Haji). Scratch the surface and there emerges a woman who’s sleeping with the cop’s kid-brother. Ouch.

Shades of Bipasha from Abbas-Mustan’s Race? Yes? But don’t let this hectic whodunit’s antecedents bother you. The storytelling takes wings from the word go. And we are swept ahead. As the characters go from ‘bed’ to worse. However the people in Pathak’s pacy plot are so hurriedly propelled to their nemesis that we never get close enough to any of them to understand their inner world.

The depths are discarded for the dips and curves. The performances are even and well-informed. Sunny Deol in a role that requires him to sublimate his pain in a status of stoicism gets it just right. Irrfan creates ample space for himself in a role that’s sketchy for starters but gathers substance as the yarn progresses.

Konkona Sen Sharma as the stereotypical sympathetic shoulder gets rid of her set expressions and comes up with a performance of restrained bravura in the courtroom.

And Esha Koppikar plays the thankless role of the unfaithful wife and a disgraceful mother with much relish.

Here’s a film that extends the borders of morality. It does so in the commercial language without resorting to crass situations and dialogues. For fans of Sunny Deol’s fist-friendly image here’s the actor telling us that strength is sometimes a matter of holding back rather than letting it all hang out.

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