 "Movie Review: Poor script, wasted acting pale Phantom")
Just like his Eid release, Bajrangi Bhaijaan, Kabir Khan's Phantom also deals with India-Pakistan relations, albeit in a more cliched "we need to teach them a lesson" way. While the premise of the film - the 26/11 Mumbai attacks and the resulting fear and helplessness that the entire nation bears - is strong enough, the treatment and characterisation are the film's undoing.
Adapted from Hussain Zaidi's Mumbai Avengers, Phantom is essentially a story about a team at the Research and Analysis Wing (RAW) coming up with a diabolic plan to wipe out those responsible for 26/11 as they believe this will end the spate of terror attacks India has been subjected to. This, they entrust in a long forgotten Phantom-like ex-armyman Daniyal Khan.
The film's daredevil spy/assassin is played by 45-year-old Saif Ali Khan. A disgraced army officer estranged from his parents (father also being an ex-armyman) because of his court martial from the Indian army, Khan's character comes across as someone more intrigued by the daredevilry in the job rather than redeeming himself. Playing a spy, one would expect Khan to be agile and discreet, which he fails to do at almost every move.
As the lead pair, the two have little chemistry. While the film abstains from choreographed dance sequences to show the two falling in love, there is a moment that could have been the turning point in their association. Sadly, the lacklustre expression on both the leads and a poorly written screenplay ensure that this too feels unbelievable. The good thing is that music in the film has been used sparingly. Apart from one song, most of the songs play in the background or are used to just push the narrative forward (dialogues do little to help in this case for this film anyway).
The supporting cast - Sabyasachi Chakrabarty, Rajesh Talang and Zeeshan Ayyub - are good at what they do, but sadly are victims of poorly scripted characters, just like Khan. Ayyub, playing the eager-beaver RAW rookie who plants the idea to take down those responsible for the 26/11 attacks, has little to do and after his performance in Tanu Weds Manu Returns earlier this year, this role disappoints.
Apart from the lack of depth in character, the film suffers from a serious lack of logic. While we may make some room for creative liberties, the premise of sending one man to finish off the masterminds in the Lashkar-e-Taiba seems oversimplified and far-fetched. One is reminded of Steven Spielberg's Munich (Eric Bana, Daniel Craig) which followed a similar premise, but that idea too is dismissed since a comparison would just not be fair. Phantom fails to be believable, despite drawing from one of the most poignant times in India's modern history.
The redeeming (somewhat) feature of the film has to be its cinematography. From images of the 26/11 attacks to the stark white snow-laden landscape of Kashmir to London, Chicago, Beirut and finally Pakistan, the frames are a visual treat. Even the few scenes in what is supposed to be war-torn Syria manage to draw appreciation for the way they are captured. The feather-light screenplay, however, fails to complement the beauty of the frames, throwing the viewer off-balance every now and then.
Perhaps in a bid to keep the pace breakneck, the film ends up looking jumpy. Phantom, which could have been an edge-of-the-seat thriller fuelled by patriotism, comes off looking like a Rs 55 crore paid vacation for actors wasted to a weak script.
Adapted from Hussain Zaidi's Mumbai Avengers, Phantom is essentially a story about a team at the Research and Analysis Wing (RAW) coming up with a diabolic plan to wipe out those responsible for 26/11 as they believe this will end the spate of terror attacks India has been subjected to. This, they entrust in a long forgotten Phantom-like ex-armyman Daniyal Khan.
The film's daredevil spy/assassin is played by 45-year-old Saif Ali Khan. A disgraced army officer estranged from his parents (father also being an ex-armyman) because of his court martial from the Indian army, Khan's character comes across as someone more intrigued by the daredevilry in the job rather than redeeming himself. Playing a spy, one would expect Khan to be agile and discreet, which he fails to do at almost every move.
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Khan is joined by Katrina Kaif, who plays Nawaz Mistry, a civilian under contract with RAW. Once again, her face is just that, a pretty face, void of emotion even when she reminisces of the fun times she had with her father at the Taj in a scene that is supposed to reveal her intentions for joining Khan in his exploits. Apart from her bland expressions and jerky dialogue delivery, Kaif's Mistry is perhaps yet another female lead character that has been thrown in just because we need some glamour in Bollywood. A trusted sidekick would have made more sense.
As the lead pair, the two have little chemistry. While the film abstains from choreographed dance sequences to show the two falling in love, there is a moment that could have been the turning point in their association. Sadly, the lacklustre expression on both the leads and a poorly written screenplay ensure that this too feels unbelievable. The good thing is that music in the film has been used sparingly. Apart from one song, most of the songs play in the background or are used to just push the narrative forward (dialogues do little to help in this case for this film anyway).
The supporting cast - Sabyasachi Chakrabarty, Rajesh Talang and Zeeshan Ayyub - are good at what they do, but sadly are victims of poorly scripted characters, just like Khan. Ayyub, playing the eager-beaver RAW rookie who plants the idea to take down those responsible for the 26/11 attacks, has little to do and after his performance in Tanu Weds Manu Returns earlier this year, this role disappoints.
Apart from the lack of depth in character, the film suffers from a serious lack of logic. While we may make some room for creative liberties, the premise of sending one man to finish off the masterminds in the Lashkar-e-Taiba seems oversimplified and far-fetched. One is reminded of Steven Spielberg's Munich (Eric Bana, Daniel Craig) which followed a similar premise, but that idea too is dismissed since a comparison would just not be fair. Phantom fails to be believable, despite drawing from one of the most poignant times in India's modern history.
The redeeming (somewhat) feature of the film has to be its cinematography. From images of the 26/11 attacks to the stark white snow-laden landscape of Kashmir to London, Chicago, Beirut and finally Pakistan, the frames are a visual treat. Even the few scenes in what is supposed to be war-torn Syria manage to draw appreciation for the way they are captured. The feather-light screenplay, however, fails to complement the beauty of the frames, throwing the viewer off-balance every now and then.
Perhaps in a bid to keep the pace breakneck, the film ends up looking jumpy. Phantom, which could have been an edge-of-the-seat thriller fuelled by patriotism, comes off looking like a Rs 55 crore paid vacation for actors wasted to a weak script.