The movie opens in a booming red light area in Mumbai’s Grant Road. Dealing with a story of Rajjo who is bound in the clutches of her pimps, love comes to her rescue in form of Chandu (Paras). Younger than her, and coming of a good family, the boy finds himself drawn to Rajjo. Smitten by her, the two tie the knot.

Shunned by society and his parents, they begin life afresh. But Rajjo’s past and the stigma of being a prostitute doesn’t leave her. Coming face to face with the same people from her past, the film is a tale of Rajjo and how she finally finds social acceptability.

For a script, it has a rather simple plot. A puppy-adorable looking young boy is smitten by a beautiful star nautch girl. The story follows his struggle to marry her and how they fight the stigma of her social background. There are too many subplots that it is advisable you don’t try to keep a track of them. The screenplay is scattered and hazy. It moves too briskly for my taste. Ending abruptly, there are too many looseends left untied at the end of the film. It is disturbing to watch this film as it challenges your intellect.

The dialogues are so out of the world that you feel that the script caters to the interests of aliens for sure. The story moves aimlessly towards the most convoluted climax Bollywood has come up in the recent times.

The most prevailing thought was why would someone make this film. It would have been more apt had they titled the film WHY. The makers have no idea what brutality it is and which level of torture have they inflicted on us.

Sample this dialogue, “Kothey pe 100 logon ki banne se, ghar pe ek mard ko rakhna zyada mushkil.” And in a scene Mahesh Manjrekar says, “Maine Lala ka auzaar kat diya.” It is a given that only Prakash Raj movies have such terrible dialogues, but this movie ousts his worst so far.

Kangana Ranaut’s last performance as Kaya was a blessing compared to this. What remains constant is her bad dialogue delivery and over dramatic nautch girl act. However she is confident, which isn’t a praise because it isn’t appreciable that the girl is bad so confidently.

Paras Arora has the looks of an adorable child which works in his favor. The boy doesn’t act and presumably cannot act.

I have no idea why Mahesh Manjrekar and Dalip Tahil agreed for the film at all. Men of their potential should bend beneath their stature under any cost.

And Prakash Raj is ace as the villain who makes you laugh with his constant caricatures. Why is he a common figure in all films these days is unknown to me but it surely needs to change.

Director Vishwas Patil was surely not clear about what he was trying to make. Anyone with some knowledge of cinema would not let this print of the film release. It was haphazard, unconvincing and utterly flimsy. The story has no steam from the beginning. Awfully boring, and laughworthy, the worst player here was editing. It all seemed like individual shots pasted together. There is barely any connection between one scene and another. For example in a one scene you see Kangana and Paras laying on the floors of their house, beaten up by goons. Two scenes later she is dancing in full form. Nothing syncs; it is all so starkly blank, bland and painful to watch. Expect a terrible headache, like I have one. And perhaps Aspirin won’t save me this time!

It was just last Friday that I watched Satya 2 and I erroneously assumed that is the worst that can happen to me or Bollywood. Now there is Rajjo with no caliber, or potential and still making it to the theaters this week. It is a shameful piece of cinema. I am flabbergasted at this ridiculous film. Even zero seemed like a high rating but I am left with no option, hence a 0 on 5 for this film. Filmmakers don’t respect art anymore and that’s what the problem is. I echo the sentiments of a certain song in the film -Kalega hai haazir, where’s the khanjar man? Kill me already!

 Courtesy: Koimoi