I must confess at this point that awfulness of plot and dialogue has very little to do with whether 3-D hands jumping out of the screen scare you. Meanwhile, Aditya has started to fall in love with the girl he’s helping to spook… who now also turns out to be Shanaya’s secret half-sister. Unsuspectingly having drunk of Tara Dutt’s water (now for some reason referred to as zeher), Sanjana starts to see things that no-one else can see, and slowly starts to lose it. Shanaya then prevails upon her director boyfriend Aditya (whom no-one knows she’s in a relationship with because singledom is crucial to her brand value) to hire Sanjana in his next film, so that he can be the conduit for this evil water (in case there’s a chance that plain colourless water doesn’t seem evil enough, we get some rather brilliant shots of the glass vial glowing brightly in Aditya’s pocket). So the insecure Shanaya Shekhar goes to one Tara Dutt (Manish Chaudhry, pretty impressively not just a ho-hum evil tantrik but an actual aatma who shapeshifts, for some reason, into a most un-disembodied maggoty form) and gets some water from him, which when drunk by her arch-nemesis Sanjana (Esha Gupta), will put the poor girl’s spirit in Tara Dutt’s power.
What happens in the film, you ask? Yes, well, I suppose it is impossible to avoid any longer. I mean, even before she’s gone over to the forces of evil, when we see her arrive in a temple in what looks from the back like a very short white kurta and nothing else – well, we know, don’t we? There’s also the wall-sized image of her face splashed across her own drawing room, which is definitely eerier than anything that actually happens in the film. Here, even as she keeps telling her hapless lover to look into her eyes and see her dukh, her possibilities as tragedienne are swamped by overly sharp dressing that announces her as evil from the word go.
He only realizes that it was a performance when (spoiler alert) Bipasha presents him with a dvd of it later in the film with a smirk and a threat of blackmail.īipasha has always been a marvel at remaining perfectly-coiffed through tragedy queen roles: my favourite of these performances was the caste-cum-honour-killing thriller Aakrosh, where she wafts her way through a violent marriage to an evil landlord in FabIndia sarees and artfully dishevelled cloud of just-shampooed hair. She’s so patently faking it that it seems a trifle unbelievable that Emraan’s Aditya Arora – even rolled around her little finger as he’s supposed to be – doesn’t see through rather-too-oomphy act. The mouth-to-mouth (largely between Bipasha and Emraan, though Esha manages to get in a kiss or two), as always in the Bhatt universe, is franker and less coy than in most other parts of Planet Bollywood – but one does wish Bipasha wouldn’t try so hard to look seductive while she’s at it.
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