Written & Directed by Rajesh Ganguly
Rating; **
An alcoholic woman is murdered, and thus begins a process of deconstruction that takes the plot back to where it all started.
It's hard pinpoint where Blue Oranges begins. The director has chosen an intricate flashback-and-forth mode of storytelling that he isn't always able to carry off with élan.But the art is in the right place. Right there on the wall. A part of the plot is devoted to the hazy world of fake paintings.Names like Husain are mentioned in passing.
Our sullen hero Kevin (newcome Aham Sharma wearing the scowl like a second skin), we are told in crushed whispers, paints fakes.He also fakes emotions when the questioning gets too close for comfort.
He's an enigma in a movie that unravels the mystery with insubstantial proof of its expertise.
Kevin probably murdered this rich alcoholic woman (Pooja Kanwal, who five years after her debut in a teen flick tries to look all grownup in sarees, hiccups and slurred dialogues about f...k ups).
Sullen Hero didn't show up for their wedding. But he shows up eight years afterwards at her doorstep, his long- haired painter's look replaced by a short hair, spectacles and terse words that suggest he's secretly unhappy.
Murder suspects pile up rather neatly. And the interrogation is done with a reasonable amount of expertise
and restrain. No jokey cop-sidekicks, no floozies flirting in feathery frivolity, no item songs in smokey dens
and no villains accumulating in the plot's skyline like suspects lined up at the roadside.
At the vortex of this mildly engaging whodunit is a freelance investigative officer Nilesh (Rajit Kapoor) with a paraplegic daughter who keeps reading books that no teenager should. In fact the girl gives the film its incongruous title.She's the key to the puzzle of the murdered alcoholic woman who had men barging into her home unannounced.
If there are no highs in the narration there are no plunging lows either. You come away from Blue Oranges hoping that murder victims in the future remember not to drive while drunk.
Caution is a predominant strain in the storytelling. The one stand-out performance comes from Rajit Kapoor who says the most oratorial line with the authority of a librarian who knows every book on the shelf by its binding.
The rest of cast is passable, sometimes less.But that's the way of the world. You win some, you lost most of it.
