It is then that the brief impression of the two young men, Heero (Ajay Devgan) and Raj (Prashant Raj) returns to him. Since he could not expect the police to help in a quest for personal revenge, and his principles would not allow him to turn to the underworld for help, he decides to enlist the help of Heero and Raj.
Thereafter, the track follows the contemporary route.
Sholay touched the hearts of millions of people with the fine mannerisms of each and every character associated to it. Dissapointingly, RGV Ki Aag fails to focus on the characterizations. The Veeru-Jai bonding is missed in the Heero-Raj gala. The scary Gabbar is missed in the dialogues delievered by Babban.
Though, the first half is spellbinding, its the second half that reaches the climax with huffs n puffs. Almost 30 odd minutes of the second half needed to be omitted. The Nisha Kothari-Ajay Devgan track leave a few sleepy faces that wake up to another Raj and Sushmita’s pointless chemistry.
RGV shows his class in bits and pieces. He displays his prowess as a director in a few scenes like the introduction of Babban Singh and the face off between Narsimha and his counterpart.
Musically, Mehbooba rocks in every aspect. The haunting music looks astounding with Urmila essaying the sexy Mehbooba. Ganesh Hegde deserves all praises for his superb detailing in the empowering track. The festival track on the occasion of Holi is made to look good with its onscreen depiction.
Technically speaking, Amar Mohile’s background score is amazing. Dialogues suggest a dark film, but leave much to be desired. Amit Roy’s cinematography is worth a mention. Pradhyumna’s action choreography is a sheer old palette of stunts. Editing is the biggest culprit which will cease the aag of RGV.
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