Film review: Ya Rab
By: Rahul Desai
Ya Rab is the second film this week trying to achieve an implausible balance between a glorified sermon and an outlandish entertainer.
The result is a woeful product that attempts to speak for Islam while trying to dispel false notions about the religion, but ends up as a discourse against every department of filmmaking.
The story revolves around a clash of two ideologies. The extremist is represented by a vein-popping Akhilendra Mishra whose bulging eyes are accompanied by the menacing sound of thousand dying cats, and the righteous side is represented by a progressive Muslim doctor played by the phenomenal Manzar Sehbai, who many will remember as the hateful father from the critically acclaimed Pakistani film Bol. He may have chosen this role based on the sincere message it tries to portray, and though he is armed with amateur lines, he remains the only man with the power to rise above a clueless cast and some very distracting dubbing errors.
This film also raises the important question again: What is the lesser evil - A dishonest film made with technical fluency, or a socially relevant film with schoolboy technique?
Ya Rab is the second film this week trying to achieve an implausible balance between a glorified sermon and an outlandish entertainer.
The result is a woeful product that attempts to speak for Islam while trying to dispel false notions about the religion, but ends up as a discourse against every department of filmmaking.
The story revolves around a clash of two ideologies. The extremist is represented by a vein-popping Akhilendra Mishra whose bulging eyes are accompanied by the menacing sound of thousand dying cats, and the righteous side is represented by a progressive Muslim doctor played by the phenomenal Manzar Sehbai, who many will remember as the hateful father from the critically acclaimed Pakistani film Bol. He may have chosen this role based on the sincere message it tries to portray, and though he is armed with amateur lines, he remains the only man with the power to rise above a clueless cast and some very distracting dubbing errors.
This film also raises the important question again: What is the lesser evil - A dishonest film made with technical fluency, or a socially relevant film with schoolboy technique?
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