A good murder mystery leads you by the hand, however, does not market its results, takes care to keep it tight, and delivers an adequate recompense. Despite a couple of niggles, Ittefaq (which takes broad tips from the 1969 original of the exact same name) handles to pull it off.
On a rainy Mumbai night, a wounded guy is on the run and polices hot on their wheels. He’s owning a Merc, threads to the match the car, and he waits in a tearing rush to get away.
On the exact same night, a troubled woman abandons the roadway. In her flat, exemplarily beside a splintered glass table, prevails a dead body. We soon get to recognize that there are some more deaths associating the lead players, and the great old dance– who, why, exactly what, where– starts to work.
These 2, the man-on-run Vikram Sethi (Malhotra), and scared Maya (Sinha) are the defendants. Their crime: murder. Of course, each alleges both are impeccable: he says she is twisting. She states he is. In brief, order, investigating officer Dev (Akshay Khanna) gets here, and ups the fire.
The scopes in the contradictory evidence are typically satisfied with scared people, white tales and half-fidelity, and the person or individuals who know who did it. We get differing points-of-view from both Vikram and Maya, and as time passes, more ideas appear. Was there any other individual in Maya’s flat? Is she as innocent as she pretends to be? Is he demurring superfluous? Who is the actual criminal?
There are concerns here. The background music calling attention to itself is not appealing. The thread of inappropriate strategies and their raillery starts as frustrating, not just due to the fact that we’ve seen this variety of stuff in the history, however moreover because the quantum appears unneeded. Dev is susceptible to making smart-alecky annotations, and you can see the dialogues being pushed in the setting of old-style one-liners. They all start sounding too informative, dotting the Is and underlining the Ts. And a few elements end being clunkier than they should.
What makes up for all these things is that the movie manages to nurture itself post that faltered period, the one thing that can sink mysteries. There are more briskness and reliance in the method the all the roles come across, and very little time is lost as we go along.
Both Malhotra and Sinha begin off a little unstable, and then consistent up. And Khanna is having a blast as the police officer.
Ittefaq is that unusual Bollywood creature: a smart, gripping whodunit which holds us imagining.