Sanjay Gupta remains incorrigible. After Dus Kahaaniyan’s visible flop, he ought to have known better—that just half-clothed heroines, a rocking sound track, an arresting name, and an empty story picked from a hundred DVDs cannot work. The audience demands a coherent story that’s well thought out, at least.

WOODSTOCK VILLA is treated more like a Hollywood flick. The plotline, the sequence of events, the execution of the subject, the hand-held/jerky camera movements, the grainy look — this is no been-there-seen-that kind of a movie experience [at least for Indian audiences]. But a film molded on the lines of an English film should start and end without any diversion. In this case, the obstacles are the songs. Frankly, WOODSTOCK VILLA would’ve made a stronger impact had it been a songless fare, since the songs are like unwanted guests.

Overall, a decent fare that appeals more to those with an appetite for hardcore thrillers.

One evening, at a nightclub, Samir spots a girl who introduces herself as Zara Kampani (Neha Uberoi). He pursues her but she dismisses him with an ‘I spell trouble’ warning. Evidently, he doesn’t know how to read and goes after her anyway. A few days later, she lands up at his home with a sinister plan to test whether her husband really loves her. She begs Samir to kidnap her; he complies for the money, and once they reach the secluded Woodstock Villa, pretends to rape her, so she looks the part of the distraught kidnapped. He then makes the ransom call to her husband Mr Kampani (Arbaaz Khan). Then, predictably, comes the twist in the tale.

Oh yes, and there’s also an unnecessary parallel sub-plot of Karim bhai (Gulshan Grover), who trails Samir to get back some big bucks he lent him. Possibly this angle was introduced for the sole purpose of reiterating that the protagonist needed the money real bad.Director Hansal Mehta is in form after a long time [CHHAL ranks as his finest work so far]. The USP of the film is its plotline, which grabs your attention from the very outset. A few situations may seem predictable, but a number of scenes do catch you unaware.

From the writing point of view, the climax should’ve been stronger. There had to be a scene or two that justified Neha’s volte-face towards the end. Also, the climax could’ve been more forceful. Somehow, you can guess what the culmination would be!

Hansal Mehta has treated the subject well. He seems to be almost there this time. The screenplay [Sanjay Gupta, Rajiv Gopal and S. Farhan] have no glaring flaws as such. Milap Zaveri’s dialogues have punch at places. Vikash Nowlakha’s cinematography is topnotch. Amar Mohile’s background score is outstanding.

Woodstock Villa introduces two actors, Sikander Kher and Neha Uberoi. Kher is unconventionally attractive and suits the character of the brooding playboy who’s always getting himself into trouble. But it’ll need a second film to test his range and adaptability. Uberoi, who complies with Sanjay Gupta’s dictate of half-stripping his heroines, is an interesting face and does fairly well. They’re both strong on presence and exude dewy freshness and confidence. Gaurav Gera as the hero’s dost and sidekick is a thankful relief from other hammy performances in such roles, like the one in Jannat.

The songs are all superb, a huge advantage to the film. Technically, the film falters in cinematography, which is patchy. Editing is effective and the sound design interesting. The narrative technique is wannabe cool with its superfluous jump cuts, spilt screen fight scenes, and other jazz. Director Hansal Mehta refuses to evolve from his Dus Kahaaniyan stupor and gives us a supposed thriller that rides only on the appeal of the lead actors and the songs. Oh well, so what else is new.
On the whole, WOODSTOCK VILLA has decent merits and holds appeal for those with an appetite for hardcore thrillers.

Categories: Movie Review, Woodstock Villa
Tags: Arbaaz Khan, Gaurav Gera, Neha Uberoi, Sikander Kher