this movie was very interesting movie to watch because of the subject matter that it covers . when i watch this movie i realized that kabir khan is the next biggest director of bollywood. He has done a great job ,the story is very original and each character feels very real. One thing that i liked about this movie was that it used background music just like in departed, which i was very impressed because they don't do that in bollywood. Another thing which i noticed in this movie , which was not something bad to do but the part when Omar goes As under cover agent seemed like a scene from the departed.As far as the performances go i was very impressed by Neil Nitin Mukesh , you just can't believe it's his third movie and proves himself a scene stealer. A bravo performance.The next person that really proves himself a great actor in this movie is John Abraham, Before this movie everybody considered him body but after this movie proved that he is an excellent actor.Well irfan khan as always could never disappoint you he is probably the Naseeruddin Shah of his generation. Katrina is also acting in this movie for a change . She proves that besides being a beautiful girl she is also a good actress.I enjoyed this movie very much and didn't wanted to end because it was very fast paced and very entertaining.It is a must watch. 8/10 .
63 Reviews
A Nutshell Review: New York
DICK STEEL27 June 2009
This spat between the Bollywood producers and exhibitors have finally come to an end for now, and this Aditya Chopra produced film becomes the first off the blocks locally, and what more than a summer film that had its promotional trailer playing since late last year finally being able to see some light, starring some of my favourite Bollywood stars like John Abraham and Irrfan Khan.
I had been impressed by director Kabir Khan's debut feature Kabul Express, which also starred Abraham, and Khan has a knack for drawing the audience into contemporary social issues, given his journalist background. For his two features to date, he has crafted tales around the issue of terrorism, not to glamorize it, but to tell the more human aspects into what probably were the push factors for someone to go off the edge and succumb to the notion that violence is the only means available to justify their cause. And to do so without draping the film in melodrama, or with sympathy in excess.
In Kabul Express, we look at the background of a Taliban soldier who in frequent role reversals, become both the captive and the captor, with a moving story as to what made him do the things he did. In New York, a similar strategy applies in addressing some post-9/11 issues where foreigners were profiled and held in detention, finally being released in months or years because of the lack of evidence. If Bollywood constantly draws inspiration from Hollywood, then the film that had dealt with similar themes would be Rendition, and a smattering of Crash thrown in as well.
The film spent its first act very much closely resembling that in the trailer, which dwells on the lives of three good friends who met at the New York State University, Americans of Indian origin Sam(ir) Sheik (Abrahan), Maya (Katrina Kaif) and an Indian student on a scholarship Omar (Neil Nitin Mukesh). Having two guys and a girl translates to a romantic triangle brewing, where Maya drifts toward the more down-to-earth Omar, but having her heart already firmly set for the arrogantly confident Sam. It's like a teenage college romance with a lengthy musical montage just to cement their fast and strong relationship, until declarations from the heart, and 9/11 come play a part to separate them all.
To tell you any more would be to spoil the fun, because the story takes an interesting narrative structure in keeping you guessing who's turned to the dark side, and who's not; who's lying and who's telling the truth. It has intensity almost close to that in Infernal Affairs, where you wonder just who might turn because of the allegiance to friendship. You can imagine how you would feel if you're asked by the authorities to work undercover for them just because they have something against you, and you're to cooperate for leniency or face the music - what would you do to save your own skin, and if it calls for covert surveillance of your friends, would you do it? Irrfan Khan's Roshan is an FBI agent because of his roots and ability to connect with his "brothers", and this comes fairly accurately as the US agencies had begun to ramp up its recruitment of non-native English speakers so that they can gain keen insights from surveillance to things like translation. In fact, the Roshan character was dangerously close to being a clone of Irrfan's Slumdog Millionaire turn, especially at the interrogation table in having to fish out the truth. Neil Nitin Mukesh had more of a dramatic challenge with his role as the freshie Omar compared to his action role as a photographer in Aa Dekhen Zara, while John Abraham looked very much comfortable with his self-assured character given his alpha-male persona. Despite being one of the most photographed actresses/models in India, this film would mark my first watching Katrina Kaif in action, and I guess beautiful women get no love from female audiences who are there to root for the two male leads.
New York struck a fine balance between drama and action, devoting time to each primarily before and after the intermission. It may not be the first film that dealt with the terrorism issue on US soil, but it did enough to continue the awareness that sometimes certain policies stemming from acute paranoia just don't work, and may become that self-fulfilling prophecy that would return to haunt you. Between Kabir Khan's two films, I still prefer the former, but that doesn't mean that New York isn't worth a shout out.
I had been impressed by director Kabir Khan's debut feature Kabul Express, which also starred Abraham, and Khan has a knack for drawing the audience into contemporary social issues, given his journalist background. For his two features to date, he has crafted tales around the issue of terrorism, not to glamorize it, but to tell the more human aspects into what probably were the push factors for someone to go off the edge and succumb to the notion that violence is the only means available to justify their cause. And to do so without draping the film in melodrama, or with sympathy in excess.
In Kabul Express, we look at the background of a Taliban soldier who in frequent role reversals, become both the captive and the captor, with a moving story as to what made him do the things he did. In New York, a similar strategy applies in addressing some post-9/11 issues where foreigners were profiled and held in detention, finally being released in months or years because of the lack of evidence. If Bollywood constantly draws inspiration from Hollywood, then the film that had dealt with similar themes would be Rendition, and a smattering of Crash thrown in as well.
The film spent its first act very much closely resembling that in the trailer, which dwells on the lives of three good friends who met at the New York State University, Americans of Indian origin Sam(ir) Sheik (Abrahan), Maya (Katrina Kaif) and an Indian student on a scholarship Omar (Neil Nitin Mukesh). Having two guys and a girl translates to a romantic triangle brewing, where Maya drifts toward the more down-to-earth Omar, but having her heart already firmly set for the arrogantly confident Sam. It's like a teenage college romance with a lengthy musical montage just to cement their fast and strong relationship, until declarations from the heart, and 9/11 come play a part to separate them all.
To tell you any more would be to spoil the fun, because the story takes an interesting narrative structure in keeping you guessing who's turned to the dark side, and who's not; who's lying and who's telling the truth. It has intensity almost close to that in Infernal Affairs, where you wonder just who might turn because of the allegiance to friendship. You can imagine how you would feel if you're asked by the authorities to work undercover for them just because they have something against you, and you're to cooperate for leniency or face the music - what would you do to save your own skin, and if it calls for covert surveillance of your friends, would you do it? Irrfan Khan's Roshan is an FBI agent because of his roots and ability to connect with his "brothers", and this comes fairly accurately as the US agencies had begun to ramp up its recruitment of non-native English speakers so that they can gain keen insights from surveillance to things like translation. In fact, the Roshan character was dangerously close to being a clone of Irrfan's Slumdog Millionaire turn, especially at the interrogation table in having to fish out the truth. Neil Nitin Mukesh had more of a dramatic challenge with his role as the freshie Omar compared to his action role as a photographer in Aa Dekhen Zara, while John Abraham looked very much comfortable with his self-assured character given his alpha-male persona. Despite being one of the most photographed actresses/models in India, this film would mark my first watching Katrina Kaif in action, and I guess beautiful women get no love from female audiences who are there to root for the two male leads.
New York struck a fine balance between drama and action, devoting time to each primarily before and after the intermission. It may not be the first film that dealt with the terrorism issue on US soil, but it did enough to continue the awareness that sometimes certain policies stemming from acute paranoia just don't work, and may become that self-fulfilling prophecy that would return to haunt you. Between Kabir Khan's two films, I still prefer the former, but that doesn't mean that New York isn't worth a shout out.
Noble effort with some foolishly superficial choices
cliff-1926 June 2009
First, we should all applaud any popular entertainment that takes on the crimes of the recent American past. Here is a (largely worthwhile) Indian effort that is too far to the implausible end of the spectrum for my tastes. But it also has a political blind spot that makes it troubling and not only a bit foolish.
The part I found troubling is the way the US is defended. The filmmaker succeeds in making terrorist sympathizers of the audience, then lamely states the US case with totally unconvincing platitudes. The US government relentlessly behaves in a brutal and unapologetic manner throughout the film, and is then defended with a line like, "People make mistakes. Countries do, too." Well, if my wife made a mistake as severe as the US makes in this movie (drawn heavily from the headlines), she darn well better apologize or I'm gone! But do the Americans apologize? Have Americans ever apologized, i.e. the way Kevin Rudd did recently? There are MANY films that deal with these moral/political issues far better. The Bollywood epic "Mission Kashmir," for all its Bollywood silliness, does a far better job. The outstanding Indo-American film "The War Within" is my favorite of these issue films. And any of the movies of Mani Ratnam show how a popular entertainment can also be smart.
The part I found troubling is the way the US is defended. The filmmaker succeeds in making terrorist sympathizers of the audience, then lamely states the US case with totally unconvincing platitudes. The US government relentlessly behaves in a brutal and unapologetic manner throughout the film, and is then defended with a line like, "People make mistakes. Countries do, too." Well, if my wife made a mistake as severe as the US makes in this movie (drawn heavily from the headlines), she darn well better apologize or I'm gone! But do the Americans apologize? Have Americans ever apologized, i.e. the way Kevin Rudd did recently? There are MANY films that deal with these moral/political issues far better. The Bollywood epic "Mission Kashmir," for all its Bollywood silliness, does a far better job. The outstanding Indo-American film "The War Within" is my favorite of these issue films. And any of the movies of Mani Ratnam show how a popular entertainment can also be smart.
Taster for Indian Audience on 9/11
AvinashPatalay7 September 2009
Post Kabul Express my hopes were riding on Kabir Khan on his take of 9/11 in "New York". For Indian audience I guess "New York" just provides a tip of the ice-berg of what 9/11 brought the change in the International level. On international level, the issue is further deep- rooted which Kabir Khan failed to touch base upon thereby giving a "rookie" feel to the entire proceedings. It appears as if Kabir Khan was confused if the subject he wanted to address was 9/11 or a triangular college romance.
"One-event changes entire life", c'mon - its so 1970's Bollywood "badla" tried-tested-sour theme. Natural progression and inching towards the other side of the line would have been much convincing.
Niel Mukesh:: Gave his best performance. Looked convincing as a student. The silent love-track wasn't warranted, or perhaps its YRF influence (read that "force-fit"). I was laughing aloud when he walks out heart- broken when the 9/11 is shown on telly (as my friend quipped, perhaps his very own twin towers were grazed!).
John Abraham:: As mentioned earlier, the character is not developed properly. And his personality looks way ahead of a student. Had immense scope to exhibit his talent - however a mediocre performance fails to rise above the expectations.
Katrina:: The silent-spectator character whose only purpose seems to be an eye-candy on the screen and maybe when revelation that she knows it all. Otherwise an unwanted character in the plot.
Irfan Khan:: Again, his character and lines are Bollywoodish ie. half- baked.
And for those who have an appetite for a surreal story dealing with similar subject - give "The Hamburg Cell" and "Britz" a go and it will come to realise what depth actually means.
"One-event changes entire life", c'mon - its so 1970's Bollywood "badla" tried-tested-sour theme. Natural progression and inching towards the other side of the line would have been much convincing.
Niel Mukesh:: Gave his best performance. Looked convincing as a student. The silent love-track wasn't warranted, or perhaps its YRF influence (read that "force-fit"). I was laughing aloud when he walks out heart- broken when the 9/11 is shown on telly (as my friend quipped, perhaps his very own twin towers were grazed!).
John Abraham:: As mentioned earlier, the character is not developed properly. And his personality looks way ahead of a student. Had immense scope to exhibit his talent - however a mediocre performance fails to rise above the expectations.
Katrina:: The silent-spectator character whose only purpose seems to be an eye-candy on the screen and maybe when revelation that she knows it all. Otherwise an unwanted character in the plot.
Irfan Khan:: Again, his character and lines are Bollywoodish ie. half- baked.
And for those who have an appetite for a surreal story dealing with similar subject - give "The Hamburg Cell" and "Britz" a go and it will come to realise what depth actually means.
Tried hard, but eventually fails
jaskunwar99326 June 2009
New York had the effect that a movie like Taare Zameen Par had: not expected much, yet looking forward to it, because it's the first worthy movie that has come out after the much-agonizing 2 month movie ban. The cast was top class: Niel Nitin Mukesh of Johnny Gaddar fame, Katrina Kaif of the Singh is Kinng fame, and John Abraham of the Dhoom fame. Not to forget the return of Slumdog Millionaire's Irrfan Khan, again as a police officer, no, wait, the FBI.
Three friends, ready to face the world... and then the world changed. This is the tagline. It was New York that had changed in the movie. The world was nowhere in sight. The script was good, light and humorous. Katrina's performance was amazing, considering that she doesn't know how to act. John was Good, and for a change so was Niel. Irrfan had that humorous touch in his voice that many love.
The direction is smooth, but too much slow motion at times. The cinematography is mind-blowing. Everything is beautifully captured. Editing is also smooth. The soundtrack is good, specially the Hai Junoon track. Thank god there are no dance sequences. They would have totally spoiled it up.
New York is one of those movies that tried very hard to strike a message, but fails. Don't get me wrong: the movie is not bad. It's another good film under the Yash Raj Banner, and it almost fully satisfies the movie-hungry person who has been hungry for 2 months, but, like Rang De Basanti, it's not able to strike a chord as a movie of it's genre should. What they've shown is fact, no doubt, but doesn't feel true. Maybe that's why. There was something lacking in the script, I'm sure, though it's really not spot-able!! I gave it a 7/10, because it didn't work that good for me. But I'm sure many will give it an 8, 9 or even 10. I'm hoping it's average to linger in the 7 point somethings. Not below that. Happy viewing.
Three friends, ready to face the world... and then the world changed. This is the tagline. It was New York that had changed in the movie. The world was nowhere in sight. The script was good, light and humorous. Katrina's performance was amazing, considering that she doesn't know how to act. John was Good, and for a change so was Niel. Irrfan had that humorous touch in his voice that many love.
The direction is smooth, but too much slow motion at times. The cinematography is mind-blowing. Everything is beautifully captured. Editing is also smooth. The soundtrack is good, specially the Hai Junoon track. Thank god there are no dance sequences. They would have totally spoiled it up.
New York is one of those movies that tried very hard to strike a message, but fails. Don't get me wrong: the movie is not bad. It's another good film under the Yash Raj Banner, and it almost fully satisfies the movie-hungry person who has been hungry for 2 months, but, like Rang De Basanti, it's not able to strike a chord as a movie of it's genre should. What they've shown is fact, no doubt, but doesn't feel true. Maybe that's why. There was something lacking in the script, I'm sure, though it's really not spot-able!! I gave it a 7/10, because it didn't work that good for me. But I'm sure many will give it an 8, 9 or even 10. I'm hoping it's average to linger in the 7 point somethings. Not below that. Happy viewing.
A terrorist film lacking spark...
sinncross27 June 2009
Warning: Spoilers
With the advent of 9/11 forcing the American government to clamp down on terrorism, innocent Muslims live in fear that they may be suspected of terrorist attacks when in reality they do not even condone the act itself. Omar (Neil Nitin Mukuesh) is arrested by the FBI but not because he is a terrorist suspect, but rather so that he can be used to spy upon the leader of a terrorist group working within New York. Omar soon discovers that he has to spy upon his best friend from college, Sam (John Abraham), but does so in order to prove his friends innocence.
The 9/11 wave of films have more or less past and New York happens to be one of the first Bollywood films to tackle the subject. This becomes a slight problem as the film's core theme lacks the contemporary nature to truly challenge political alignments. Though, the film still uses its narrative to good effect by highlighting the jadedness of Omar's current predicament with the lightheartedness of his college years. It is a well formed juxtaposition of Omar's life and highlights just how different the world has become for him. But beyond this the narrative is fairly simple while Omar attempts to become accustomed with Sam's life in order to aid the FBI with their investigation. There are no musical and dance sequences, which would have detracted from the experience, but the cued music in certain scenes do not work to full effect. There is a track in the first half which losses vibrancy a good few minutes before the scene ends, and another track in the latter half of the film which does not suit the mood at all. Though the film never becomes a tight thriller, these oversights lessen the chances the film does have. Finally the film suffers from an overload of political views: first America is seen in a negative light for torturing Muslims and then the films moves to Muslims standing up against terrorism to make a better life for Muslims in America, to name but a few of the issues. These two core messages keep playing until the conclusion and whenever the film appears to be pro Muslim it undercuts this peaceful tone with America hate before Obama as president. The film's themes are muddled, but worse yet they are themes that have already been debated: New York offers nothing new for audiences to engage with.
The ensemble of actors in New York is good but the skill rarely exceeds expectations, but rather all are merely competent enough to see the film through. Abraham is more believable with his fun-loving college self then he is as a man who could be running a terrorist group. However praise must be given to him with his scenes involving him locked up for being a suspected terrorist: the anguish and pain he expresses feels real, but it is just a pity this sort of emotion is not carried throughout the film. Mukesh has a similar transition feeling more believable when defending himself and trying to fix everything then he is in other scenes. Kaif's role, while prominent compared to other films, is still lesser compared to her two male counterparts. Though she does feel more comfortable in this role then she has in previous where it feels like she is wasting any talent she may have. Rounding off the cast is Irrfan Khan as FBI investigator Roshan: he is not the lead but you sort of wish he was. He is a far more the more capable actor and he brings a pedigree to a film which deserves to better then it ends up being.
Considering its subject matter New York is not quite as violent as expected. There is no sex or nudity and language is virtually unnoticed.
New York is an interesting film or should be: its subject matter and political messages all seem rather unnecessary these days. It is great to see a Bollywood film dealing with post 9/11 experiences but it is geared in the wrong way and even confused at the ideology it wishes to have. The narrative shows signs of artistic nature but is too linear in its approach. The actors work with their respective roles but besides Kahn they are not consistent in delivering at their best. New York is a competent film but it is just not refreshing.
The 9/11 wave of films have more or less past and New York happens to be one of the first Bollywood films to tackle the subject. This becomes a slight problem as the film's core theme lacks the contemporary nature to truly challenge political alignments. Though, the film still uses its narrative to good effect by highlighting the jadedness of Omar's current predicament with the lightheartedness of his college years. It is a well formed juxtaposition of Omar's life and highlights just how different the world has become for him. But beyond this the narrative is fairly simple while Omar attempts to become accustomed with Sam's life in order to aid the FBI with their investigation. There are no musical and dance sequences, which would have detracted from the experience, but the cued music in certain scenes do not work to full effect. There is a track in the first half which losses vibrancy a good few minutes before the scene ends, and another track in the latter half of the film which does not suit the mood at all. Though the film never becomes a tight thriller, these oversights lessen the chances the film does have. Finally the film suffers from an overload of political views: first America is seen in a negative light for torturing Muslims and then the films moves to Muslims standing up against terrorism to make a better life for Muslims in America, to name but a few of the issues. These two core messages keep playing until the conclusion and whenever the film appears to be pro Muslim it undercuts this peaceful tone with America hate before Obama as president. The film's themes are muddled, but worse yet they are themes that have already been debated: New York offers nothing new for audiences to engage with.
The ensemble of actors in New York is good but the skill rarely exceeds expectations, but rather all are merely competent enough to see the film through. Abraham is more believable with his fun-loving college self then he is as a man who could be running a terrorist group. However praise must be given to him with his scenes involving him locked up for being a suspected terrorist: the anguish and pain he expresses feels real, but it is just a pity this sort of emotion is not carried throughout the film. Mukesh has a similar transition feeling more believable when defending himself and trying to fix everything then he is in other scenes. Kaif's role, while prominent compared to other films, is still lesser compared to her two male counterparts. Though she does feel more comfortable in this role then she has in previous where it feels like she is wasting any talent she may have. Rounding off the cast is Irrfan Khan as FBI investigator Roshan: he is not the lead but you sort of wish he was. He is a far more the more capable actor and he brings a pedigree to a film which deserves to better then it ends up being.
Considering its subject matter New York is not quite as violent as expected. There is no sex or nudity and language is virtually unnoticed.
New York is an interesting film or should be: its subject matter and political messages all seem rather unnecessary these days. It is great to see a Bollywood film dealing with post 9/11 experiences but it is geared in the wrong way and even confused at the ideology it wishes to have. The narrative shows signs of artistic nature but is too linear in its approach. The actors work with their respective roles but besides Kahn they are not consistent in delivering at their best. New York is a competent film but it is just not refreshing.
Wow
donphilippi20 August 2009
this was a very sad but great movie i don't know it could be more on the actuality side of things. I mean i don't want the FBI or HLS breaking down my front door of my house. but who really knows. anyway great story the producers were amazing at presenting this. had great acting. samir was a great choice for his roll i think that he should have been a older guy maybe a professor that would have made a better story like a sleeper cell with a professor recruiting foreign students to plot and terrorize. the FBI agents were just stupid i mean who really would act like that. I think there should have been some more technology in this. I understand the budget was probably low and stuff but come on if a terrorist cell were actually working im sure they would be using some type of GPS or like a RFID or something to keep a track on everyone. any way good movie
A Treat to Watch
vetrady27 June 2009
The first major release of a movie after Delhi 6, watching New York was a treat. I was very much afraid that the acting deficiencies of John and Katrina would make the movie unbearable.. but quite the contrary was in exhibition.. Under the guidance of an excellent Kabir Khan.. The leading pair along with Irrfan have done an outstanding Job. The temptations would have been many.. There could have been very bad graphics of the Twin Towers to start off with. But Kabir Khan stayed away from it. If anything could have been improved it would have been the finale involving Katrina and John.. But the ending was again great... The best thing which worked for me in the movie though was Katrina. The scene where she confronts Omar and also her expression when she watches her client fall down from the building is out of this world...
Life after 9-11
BiswajitSince20055 July 2009
Warning: Spoilers
Omar has been framed by FBI agent Roshan and his boss to work as an undercover agent to get the details of the life of Samir and Maya who is a suspected terrorist. Roshan wants to caught him redhanded and forces Omar to work for them. Omar agrees in one condition that FBI won't kill Samir if he makes him agree to surrender in case he is found to be a terrorist. Omar, Samir and Maya were college mates in New York State University when Samir and Maya fall in love and are now a couple with a kid. The 9-11 attack leaves a mark in their life and all have gone their ways.
The movie is shot entirely in US with beautiful scenics of US and shot stylishly like most Hollywood movies. The various torture scenes shot in detention center look very realistic and your heart will go for the terrorist suspects. The scene where Maya is being caught by a cop late in the night, and his client killing the policeman and the scene that follows will catch your heart. The rebellious eyes of Maya's client will keep your heart tied.
The entire cast of the movie has given their best and the movie is a show-stealer from day-one. Katrina's power packed performance justified her role as the sole heroine in the movie. Irfan, Neil and John have given one of their best performance in their life.
The movie is shot entirely in US with beautiful scenics of US and shot stylishly like most Hollywood movies. The various torture scenes shot in detention center look very realistic and your heart will go for the terrorist suspects. The scene where Maya is being caught by a cop late in the night, and his client killing the policeman and the scene that follows will catch your heart. The rebellious eyes of Maya's client will keep your heart tied.
The entire cast of the movie has given their best and the movie is a show-stealer from day-one. Katrina's power packed performance justified her role as the sole heroine in the movie. Irfan, Neil and John have given one of their best performance in their life.
Good Movie, Amazing Plot
dawodinator28 December 2010
***The following comment contains spoilers*** The movie explores the transformation of Samir Shaikh from an American believer to a American hater. The movie portrayed this transformation decently. The idea of the movie was perfect. The movie would deserve a 10/10 if the following improvements were made. 1)When 9/11 happened, one member of Samir's family should have died during the event, to show that Muslims lost their families too, and to show that everyone was effected. 2)Racism in the streets should have been displayed, ex: People saying terrorist when Samir walks by and things like that. 3)The beginning of the film shows Samir's success a bit, but after college the movie should explore how Samir was going to be really successful after college. Maybe by having him go to a big meeting, then he gets framed by the FBI at the airport. 4)Along with success, the film should show Samir's love with Maya. 5)The man that was interviewed by Maya Shaikh should have talked about the more R rated topics in "terrorist" interrogations, to show the cruelty of the US 6)The planning of the new bombing should have been mentioned more after the intermission, to show Samir's dedication 7)Omar Ehzaz's character is great, but I think if the film show a gradual hatred for the FBI by witnessing Samir, that would be better. 7)The ending was horrible, the whole baseball scene contradicted the whole theme of the movie, that justice is not served. The movie should have ended with Samir and Maya dying, then it fades into Omar Ehzaz's eyes then a quick one frame shot of fire, then darkness. then the facts would appear. This would be better cause it shows the protagonist losing (Samir) and the antagonist winning (Government). This is mix of the films LAW ABIDING CITIZEN and SLUMDOG MILLIONAIRE (Style wise)
Fairly awakening - loses the point at many places, but still works all the same
Peter_Young17 October 2009
I did not expect much from 'New York'. A title like this always seems to be a pretentious lure to make a film look good or modern. And it was pretty ordinary and almost unwatchable when everything suggested the film would just be another regular fare - a romantic drama or something of this sort. There were continuous scenes with Irrfan Khan interrogating Neil Nitin Mukesh about something I did not even understand, and the film was going into numerous flashbacks which did not really make sense. I just felt this was a too early take-off on 'Slumdog Millionaire'. But I was completely surprised when the second half took a drastic, absolutely unexpected twist. From then on, there was no looking back. The film became thrilling, more interesting and pretty moving at the same time. Whatever one can say about the film, there was a very relevant message behind the entire story. The narrative revealed it through such terms as innocence and guilt, truth and untruth, justice and injustice, love and hate. All these antonyms swap places through the story of innocent civilians accused for no fault of their own post the 9/11 attacks. The result of this tragic incident made the lives of so many of them miserable, and the purpose of this film and its title eventually seem to be quite justified.
The film is generally decently written, and Kabir Khan's direction is good (albeit inconsistent). The portrayal of New York before and after 9/11 may not be great, but still can be forgiven, although the entire story of three friends and a love triangle between the three is not really necessary and is poorly executed. The film has some good performances. John Abraham is convincing as Sam and the viewer may feel for him as he witnesses the emotionally destructive experience his character had to go through. Katrina Kaif is surprisingly passable as Sam's supportive wife. Irrfan Khan is unsurprisingly brilliant in a role which is not very significant but contributes to the film in its own way. However, Neil Nitin Mukesh is awfully miscast and is evidently struggling a lot with a role that seems to put too much pressure on his limited range of acting abilities. The film's music is very good. I do recommend you to watch New York. It is entertaining, although I wouldn't say it's a film that can be watched over and over again. I appreciate Kabir Khan for taking on a fairly risky subject and handling it with aplomb. Many other filmmakers would make it look overly banal and unconvincing, and though New York is not without its clichés and consistency is not the right word to describe it with, Khan succeeds in making an impressive film with a poor script which manages to move you at certain points.
The film is generally decently written, and Kabir Khan's direction is good (albeit inconsistent). The portrayal of New York before and after 9/11 may not be great, but still can be forgiven, although the entire story of three friends and a love triangle between the three is not really necessary and is poorly executed. The film has some good performances. John Abraham is convincing as Sam and the viewer may feel for him as he witnesses the emotionally destructive experience his character had to go through. Katrina Kaif is surprisingly passable as Sam's supportive wife. Irrfan Khan is unsurprisingly brilliant in a role which is not very significant but contributes to the film in its own way. However, Neil Nitin Mukesh is awfully miscast and is evidently struggling a lot with a role that seems to put too much pressure on his limited range of acting abilities. The film's music is very good. I do recommend you to watch New York. It is entertaining, although I wouldn't say it's a film that can be watched over and over again. I appreciate Kabir Khan for taking on a fairly risky subject and handling it with aplomb. Many other filmmakers would make it look overly banal and unconvincing, and though New York is not without its clichés and consistency is not the right word to describe it with, Khan succeeds in making an impressive film with a poor script which manages to move you at certain points.
Good message
AishFan1 July 2009
This film had a good message and was well directed. The entire cast gave great performances--even Katrina, who is known for her poor performances. While I don't condone the actions of either terrorists or the U.S. government, I do agree that we have to grow up and stop playing the blame-game or behaving like schoolchildren in a playground fight--violence in return for violence--each attack more vicious and stronger than the one before. Who knows who is responsible--jihadis-->Guantanamo Bay-->Osama-->Cold War-->?? We need to stop spreading hatred, understand other cultures, and become better diplomats for a hopeful, albeit slow, recovery to humanity and justice.
Good Plot but lacked thrill
bhuwanesh-sundriyal7 July 2009
I was quite surprised to see Yash Raj doing something new and creative other than his Love Masala. First half was really good and fast , made the movie pretty interesting but the second half left lot to be desired. But all in all a good movie , a must watch for Kat's and John's fans. Kat look fantastic without acting. John and Neil has done good work. John looked different and Irfan was great in his bit of role. Movie gives a strong message to the NRI and people who aspire to go abroad. Its not worth going for the movie for over 200 bucks but ya 100 bucks is worth spending. I will give the movie 7 out of 10 for its beautiful picturization , beautiful katrina and Junoon, a melodious number from KK.
Bollywood has taken the "happy ending" too far.
The_Mighty_Warrior28 June 2009
New York is Bollywood's first mainstream film on the 9/11 issue. Fortunately, it is not a rehashed Hollywood 9/11 film, but it treats of issues specific to South Asians post 9/11. However, by the end of the film you wonder whether New York has been sponsored by the American tourism department as a PR campaign to keep Indians coming to America. A reassurance perhaps, that: "It's OK for you to come to America, if you are not a terrorist, we will love you and treat you as our equals, or maybe even better."
Before I go onto discus relatively minor issues of the technical aspects of the film-making of the film, I want to discuss the more major issues that a film on 9/11 requires deliberation on: political ideologies. As many have remarked in earlier reviews New York seem to have a confused political ideology. In the first half, you are exposed to the horrors of the Patriot act, detention centres and torture to which many South Asians, particularly those of Muslim descent were being subjected to, and how this lead to huge alienation and radical sentiments amongst the Muslim population. So you think this is a film made on the plight of these innocent people and will be critical of such policies.
In the second half,these policies are justified by blaming Muslims themselves for alienating themselves from America. Prior to this, America was a benign, secular, free and embracing democracy in which Indian students were actually not just amongst the most popular in American college campuses, but the most popular. Everyone was happy, free loving and enjoying their life. It was the fault of Muslims that all this changed.
By the end of the film, because the Muslims have rectified their ways, America loves Muslims again. So much so that the child of an actual terrorist is the most popular kid in his school. It's all free and loving again. There is even a message in the end-credits on how Obama has closed down the detention centres - now we can all live happily ever after.
Of course, many know that none of that is reality. No, America was not a completely benign, secular and free embracing democracy in which Indians enjoyed equal or even better status prior to 9/11. Nor, was it the fault of Muslims that America enacted policies like Patriot act, illegal detention and torture, and instigated wars. These policies were already in the pipelines long before 9/11. One simply has to read the policies of the Bush administration prior to 9/11 to find virtually all the post 9/11 policies contained therein.
And finally no, none of these policies have changed. If one looks at the statistics the alienation of Muslims has not decreased, but increased. The detention centres are still open and fully operational. The wars are still going on and more are being planned. Americans are still losing their civil rights by the day. And as for Obama, let alone closing Guantanamo, he has called for prolonged detention of anybody who COULD be a terrorist in the future without warrant, without trial, without evidence.
It is a given that the Bollywood formula is mostly a fantasy genre of film-making. It is not suppose to be reality, but a hyper-real reality, more vibrant and more idealistic than the real world. However, it is insulting to ones intelligence, when it transposes this formula onto serious issues like 9/11 and human rights issue. Such issues demand realism, deliberate critical and intelligent political commentary and pain streaking research. But, in "New York" we get a New York that is a montage of nothing more than perfect and idyllic shots of modernism; presenting nothing more than escapism for a developing India. We see fun, frolics and perfect relationships which seem be juxtaposed from an episode of friends. It is small wonder why Indians have such rose-tinted expectations of places like America and are in a hurry to leave India for these paradises.
The common man on the streets of New York could not relate to the fantasy New York in this film. Nor could the cultured and educated intellectual. In short to sum up the political critique of this film: the film is an outright sham.
Moving on to the more minor points of film-making. The director, Khan, has a very promising and vivid visual style, and this observation was not lost on me in his debut film, "Kabul express" The production values of this film are superlative, and this is evident from the opening credit sequence itself. It maintains its slickness throughout. However, the slickness is very self-aware and one soon tires of the endless slow motion shots and the really set-up and choreographed lighting.
The screenplay is overlong, meandering and repetitive. After a while one begins to become frustrated with too much of the same.
The first song is incredibly long, that you actually wait for it to end. This is a shame, because this is probably the best song in the film. The others are a bit lacklustre and often unnecessary.
The acting is for the most part embarrassing. While most actors are passable, the acting of Nitin Mukesh is unforgivable. One wonders if he's there just because he is white. As somebody said earlier he fumbles even the simplest scenes. His attempt at acting brings a lot of unintentional comedy in this film, which completely ruins the more sombre mood it tries to establish at times.
All up: A film which is worth missing, if you're not politically and socially illiterate.
Before I go onto discus relatively minor issues of the technical aspects of the film-making of the film, I want to discuss the more major issues that a film on 9/11 requires deliberation on: political ideologies. As many have remarked in earlier reviews New York seem to have a confused political ideology. In the first half, you are exposed to the horrors of the Patriot act, detention centres and torture to which many South Asians, particularly those of Muslim descent were being subjected to, and how this lead to huge alienation and radical sentiments amongst the Muslim population. So you think this is a film made on the plight of these innocent people and will be critical of such policies.
In the second half,these policies are justified by blaming Muslims themselves for alienating themselves from America. Prior to this, America was a benign, secular, free and embracing democracy in which Indian students were actually not just amongst the most popular in American college campuses, but the most popular. Everyone was happy, free loving and enjoying their life. It was the fault of Muslims that all this changed.
By the end of the film, because the Muslims have rectified their ways, America loves Muslims again. So much so that the child of an actual terrorist is the most popular kid in his school. It's all free and loving again. There is even a message in the end-credits on how Obama has closed down the detention centres - now we can all live happily ever after.
Of course, many know that none of that is reality. No, America was not a completely benign, secular and free embracing democracy in which Indians enjoyed equal or even better status prior to 9/11. Nor, was it the fault of Muslims that America enacted policies like Patriot act, illegal detention and torture, and instigated wars. These policies were already in the pipelines long before 9/11. One simply has to read the policies of the Bush administration prior to 9/11 to find virtually all the post 9/11 policies contained therein.
And finally no, none of these policies have changed. If one looks at the statistics the alienation of Muslims has not decreased, but increased. The detention centres are still open and fully operational. The wars are still going on and more are being planned. Americans are still losing their civil rights by the day. And as for Obama, let alone closing Guantanamo, he has called for prolonged detention of anybody who COULD be a terrorist in the future without warrant, without trial, without evidence.
It is a given that the Bollywood formula is mostly a fantasy genre of film-making. It is not suppose to be reality, but a hyper-real reality, more vibrant and more idealistic than the real world. However, it is insulting to ones intelligence, when it transposes this formula onto serious issues like 9/11 and human rights issue. Such issues demand realism, deliberate critical and intelligent political commentary and pain streaking research. But, in "New York" we get a New York that is a montage of nothing more than perfect and idyllic shots of modernism; presenting nothing more than escapism for a developing India. We see fun, frolics and perfect relationships which seem be juxtaposed from an episode of friends. It is small wonder why Indians have such rose-tinted expectations of places like America and are in a hurry to leave India for these paradises.
The common man on the streets of New York could not relate to the fantasy New York in this film. Nor could the cultured and educated intellectual. In short to sum up the political critique of this film: the film is an outright sham.
Moving on to the more minor points of film-making. The director, Khan, has a very promising and vivid visual style, and this observation was not lost on me in his debut film, "Kabul express" The production values of this film are superlative, and this is evident from the opening credit sequence itself. It maintains its slickness throughout. However, the slickness is very self-aware and one soon tires of the endless slow motion shots and the really set-up and choreographed lighting.
The screenplay is overlong, meandering and repetitive. After a while one begins to become frustrated with too much of the same.
The first song is incredibly long, that you actually wait for it to end. This is a shame, because this is probably the best song in the film. The others are a bit lacklustre and often unnecessary.
The acting is for the most part embarrassing. While most actors are passable, the acting of Nitin Mukesh is unforgivable. One wonders if he's there just because he is white. As somebody said earlier he fumbles even the simplest scenes. His attempt at acting brings a lot of unintentional comedy in this film, which completely ruins the more sombre mood it tries to establish at times.
All up: A film which is worth missing, if you're not politically and socially illiterate.
One hell of a Bore York!!!
kalyan0069 July 2009
Warning: Spoilers
The only reason the movie is running to almost packed houses is the recent hiatus in movie releases initiated by the producer-multiplex owners' disagreement over profit sharing.
The movie has nothing going. Its very slow-paced to start with. Sitting in the theatre one felt like it dragged on and on. All the so-called twists were clearly predictable. I guess the director probably felt a bit silly looking at the finished product. He should.
The movie attempts to get people thinking about the possible root-causes for any sane person to take up the path of terrorism. But does it accomplish the same? Hardly if any. By the end of the movie you are left clueless. The killings aren't justified, nor are the methods employed. The direction is amateurish at best. How else can one explain the 'cheerful' song sequence right after the lead actor is let out of detention? Mercifully they didn't break in to dance as well. It was at this time i was hoping the director would delve deeper into human emotions and feelings. If he had spent 10 minutes of screen time with the lead actor going through turmoil and mental anguish, instead of the music sequence, it would have achieved the desired effect. Then again I think the whole music, songs and dance sequences in Indian movies are for the unwashed masses. The only saving grace is, in my opinion, the back-ground score.
As per the acting skills of the actors, the less said the better. John Abraham has got just one facial expression for all needs though i agree that he can read his lines better than the other two. Kaltrina Kaif can act in another hundred movies but she shall garner not a single acting skill. She hasn't matured an iota since her 'Boom' days. The way she hams and says her lines is on the verge of being labelled torturous. She hasn't got an American accent and she fakes an American speaking Hindi. Give us a break!!! Not a single acting bone in her body. The director could've cast my waste paper basket and it would have done the same job as done by Neil Nitin Mukesh. He cant say a single long sentence without looking lost midway. Time for him to realise that he needs to refine his acting skills to go with his handsome looks. As for Irrfan Khan, i've never been a huge fan of his acting but i think he did an Okish job. Nothing brilliant to write home about. Even the extras reeked of amateurism. One could deduce that looking at them as they round the corner dressed as task force before breaking in to Neil Nitin's place. And even more evident is the way they act when they see the twin towers collapsing. I was half-expecting to see some panic-stricken people reaching for phones to try and reach their relatives and friends or for them to run out and reach home. But oh no!!! They stay glued to the telly. Not a muscle moved. Many more such scenes to list here. All these are i think a culmination of bad acting and worse directing. Screenplay ain't the best either. At least the editor should've increased the pace of the movie.
I've given this movie 2 stars and thats a half-star more than i want to.
The movie has nothing going. Its very slow-paced to start with. Sitting in the theatre one felt like it dragged on and on. All the so-called twists were clearly predictable. I guess the director probably felt a bit silly looking at the finished product. He should.
The movie attempts to get people thinking about the possible root-causes for any sane person to take up the path of terrorism. But does it accomplish the same? Hardly if any. By the end of the movie you are left clueless. The killings aren't justified, nor are the methods employed. The direction is amateurish at best. How else can one explain the 'cheerful' song sequence right after the lead actor is let out of detention? Mercifully they didn't break in to dance as well. It was at this time i was hoping the director would delve deeper into human emotions and feelings. If he had spent 10 minutes of screen time with the lead actor going through turmoil and mental anguish, instead of the music sequence, it would have achieved the desired effect. Then again I think the whole music, songs and dance sequences in Indian movies are for the unwashed masses. The only saving grace is, in my opinion, the back-ground score.
As per the acting skills of the actors, the less said the better. John Abraham has got just one facial expression for all needs though i agree that he can read his lines better than the other two. Kaltrina Kaif can act in another hundred movies but she shall garner not a single acting skill. She hasn't matured an iota since her 'Boom' days. The way she hams and says her lines is on the verge of being labelled torturous. She hasn't got an American accent and she fakes an American speaking Hindi. Give us a break!!! Not a single acting bone in her body. The director could've cast my waste paper basket and it would have done the same job as done by Neil Nitin Mukesh. He cant say a single long sentence without looking lost midway. Time for him to realise that he needs to refine his acting skills to go with his handsome looks. As for Irrfan Khan, i've never been a huge fan of his acting but i think he did an Okish job. Nothing brilliant to write home about. Even the extras reeked of amateurism. One could deduce that looking at them as they round the corner dressed as task force before breaking in to Neil Nitin's place. And even more evident is the way they act when they see the twin towers collapsing. I was half-expecting to see some panic-stricken people reaching for phones to try and reach their relatives and friends or for them to run out and reach home. But oh no!!! They stay glued to the telly. Not a muscle moved. Many more such scenes to list here. All these are i think a culmination of bad acting and worse directing. Screenplay ain't the best either. At least the editor should've increased the pace of the movie.
I've given this movie 2 stars and thats a half-star more than i want to.
Kabir Khan is a genius....
namashi_116 August 2009
Kabir Khan made 'Kabul Express' people... he's already gone down as one of the finest storytellers of this decade. 'New York' his latest outing, is a yet another feather in his well-decorated cap.
'New York' is a fantastic attempt, and Khan directs the film with aplomb. It sucks you into the world of these characters, if the first hour is more on the flashbacks, the second hour changes gear and becomes a high-packed thriller, with some terrifying moments. Khan knows how to handle a film, and how to keep it's viewer interested.
If the direction and is taking all the credit. Here's a special mention to: Sandeep Srivastava who's screenplay is water-tight and his dialogs at times are clap-worthy. Aseem Mishra's cinematography carries a look. Rameshwar S. Bhagat's editing is perfect.
Now to the performances: John Abraham is superb. He's simply superb when he recalls his past, you feel the pain. His finest work so far. Katrina Kaif looks amazing as always and delivers a fine performance. Neil Nitin Mukesh is excellent. The actor is sure to sustain in Bollywood and has a bright future for sure. Irrfan Khan is, as always, first-rate. Nawazuddin Siddiqui is fabulous as Zilgai.
All said n done, 'New York' is a must watch. Given the pluses up, justify you watching it! Thumbs Up!
'New York' is a fantastic attempt, and Khan directs the film with aplomb. It sucks you into the world of these characters, if the first hour is more on the flashbacks, the second hour changes gear and becomes a high-packed thriller, with some terrifying moments. Khan knows how to handle a film, and how to keep it's viewer interested.
If the direction and is taking all the credit. Here's a special mention to: Sandeep Srivastava who's screenplay is water-tight and his dialogs at times are clap-worthy. Aseem Mishra's cinematography carries a look. Rameshwar S. Bhagat's editing is perfect.
Now to the performances: John Abraham is superb. He's simply superb when he recalls his past, you feel the pain. His finest work so far. Katrina Kaif looks amazing as always and delivers a fine performance. Neil Nitin Mukesh is excellent. The actor is sure to sustain in Bollywood and has a bright future for sure. Irrfan Khan is, as always, first-rate. Nawazuddin Siddiqui is fabulous as Zilgai.
All said n done, 'New York' is a must watch. Given the pluses up, justify you watching it! Thumbs Up!
A disappointing second half
csingh-221 July 2009
After almost a 2 month long hiatus when movies came back to the cinema halls, New York was probably the most looked forward to. As it turns out, the movie on the whole is not bad. In fact, the first half of the film keeps you very entertained and very interested. Some very good performances by John Abraham as well as Neil Nitin Mukesh but probably the performance that will take you by surprise is by Katrina Kaif! Of course, it need not even be said that Irrfan Khan is impeccable. Despite the decent efforts of the three main protagonists of the movie, Irrfan Khan somehow manages to steal the limelight. He is the one to watch out for in this movie. It is unfortunate that the second half of the movie goes completely downhill. It almost seems as if the director didn't know what to do in the end. The ending was certainly disappointing, but even then, movie is certainly a one time watch.
This is the movie for which we were waiting...
superk91996 July 2009
Kabir Khan's 'New York' is nothing but a masterpiece.'New York' has truly delighted me.I don't know why i'm even giving this comment.This movie cannot be described by mere words.People always criticize Bollywood movies because of the lack in realism in them, but 'New York' is so realistic that everything in the movie feels like 'real'.The acting of every actor in the movie is commendable.Songs are used only when they are required.Everything about the movie was just perfect.I have always liked John Abraham, Neil Nitin Mukesh and Irrfan Khan but I had a feeling that Katrina might spoil the movie, but her performance left me speechless.After a series of dull and boring movies in 2009, New York came and changed everything.I must say that this is the movie we were waiting for.
Good, bad, and mild.
anifanmc2 November 2009
Warning: Spoilers
Being an Indian American myself, I was personally affected by the 9/11 attacks very strongly. They were a powerful psychological blow to myself as an American and the justification for a great deal of discrimination I experienced following the attacks.
Therefore, when a film about the event comes out from an alternative perspective, I'm always very intrigued about the possibilities of what's being depicted. New York explores the effect of 9/11 upon three individuals, all Indian college graduates from a faux American university located in NYC (although I'm not entirely sure if Katrina Kaif's character is Indian...); two of them have grown up in the United States from their childhood (including John Abraham) and the other came to the USA for schooling. All three of them love the United States and Sam, the American-born Muslim, considers it his home. A love triangle forms, but the third member of their group, Omar, leaves after 9/11 occurs, disheartened by his unreciprocated love and the difficult situation that has been made for Muslims.
Years later, the FBI picks him up in Philadelphia, after planting guns in his trunk; as it turns out, it's a ruse for him to spy on Sam, who has married the girl he loved, Maya, and is now a suspected terrorist. In complete disbelief, Omar discounts this, as the Sam he knew loved his country more than his own life. However, when he agrees to find out what Sam is up to, he finds out to his horror that Sam has started working against the United States alongside a number of known terrorists towards an unspecified plan that is only revealed at the film's climax. Having been captured and tortured for months shortly after graduating from university for "suspected terrorist activities" he is arrested under the PATRIOT act and only released after there is no evidence of his connection to terrorist activities.
The film goes through some pretty unspeakably awful things to depict what is done to break the prisoners. Sam proves no different, breaking as well, but of course not being a terrorist, has nothing to reveal. He's mentally scarred after being released and marries Maya, but unable to find comfort, he follows a cryptic message given to him by another inmate who leads him to a terrorist cell in NYC. Omar, upon realizing that the US government is indirectly responsible for turning him into a terrorist, realizes that there is hope for him still, and tries his best to work with the FBI while attempting to get Sam to recant.
Although you don't sympathize with what Sam becomes as you see what he was put through, you can still see that it was done to him, and not a function of his own choice. Omar's character is played well and is a strong counterpoint to Sam. The film's main weaknesses lie in its completely absurd depictions of American college and suburban life, but this is more or less a function of it being a Bollywood movie... they aren't really known for researching anything beyond an American stereotype when making these kinds of films as most of those scenes are thrown in as rickshaw-driver crowd pleasers. The other weakness is Katrina Kaif's character, Maya, who aside from being a boring and stolid middle-of-the-triangle character, is also an awful actress. I've never understood this Indian obsession with her; I don't find her all that attractive and I can think of many other actresses who could have fit the bill, were equally attractive, and could actually act worth their own salt.
On the other hand, the main purpose of the film, to portray Muslims in Americas' lives before and after 9/11, both succeeds and fails. Yes, Muslims were not really as persecuted beforehand; on the other hand, they're really not all that persecuted now. I realize Kabir Khan is making a more allegorical film, but he would do well to recognize that he's drawing up an artificial distinction. Before 9/11, the US still had racial and religious tensions, and little has changed afterwards, if at all. The effect of 9/11 was temporary, and while it certainly changed my view forever, the way it's depicted in the film is almost completely ridiculous. Indians, before they became more prolific in the American media and public life, usually kept their heads down; I certainly did. We were quiet contributors to society and are generally white collar workers who would spend time at college, uh, studying, not playing the class clown. I find it a little irritating that again, as usual, the Indian director in question, Kabir Khan, did not bother to do his research by interviewing real NRIs and first-generation Indians here. Of course, it's likely he was just making a popcorn flick in the guise of a sociopolitical film, so it hardly matters.
The thing that probably bothered me the most is the depiction of how people reacted after 9/11. They looked at the TV set where the twin towers were falling.... and kept watching. Really? Let me give you my personal story. I was in middle school at the time. My classmates kept talking about the "Muslims blowing up the twin towers", and myself not being a Muslim but being an Indian, I didn't think they would target me. Then I get a call from my mother to pull me out of school for the day for fear that there could be a retaliation against me - and she was right. I didn't attend school for three days because my parents were afraid if we stepped out of the house, we would get shot in retaliation for attacks they had nothing to do with, simply because of our brown skin. THAT is the real effect of 9/11.
I would recommend this movie to anyone who's interested, in any case; just take their cultural depictions with a grain of salt.
Therefore, when a film about the event comes out from an alternative perspective, I'm always very intrigued about the possibilities of what's being depicted. New York explores the effect of 9/11 upon three individuals, all Indian college graduates from a faux American university located in NYC (although I'm not entirely sure if Katrina Kaif's character is Indian...); two of them have grown up in the United States from their childhood (including John Abraham) and the other came to the USA for schooling. All three of them love the United States and Sam, the American-born Muslim, considers it his home. A love triangle forms, but the third member of their group, Omar, leaves after 9/11 occurs, disheartened by his unreciprocated love and the difficult situation that has been made for Muslims.
Years later, the FBI picks him up in Philadelphia, after planting guns in his trunk; as it turns out, it's a ruse for him to spy on Sam, who has married the girl he loved, Maya, and is now a suspected terrorist. In complete disbelief, Omar discounts this, as the Sam he knew loved his country more than his own life. However, when he agrees to find out what Sam is up to, he finds out to his horror that Sam has started working against the United States alongside a number of known terrorists towards an unspecified plan that is only revealed at the film's climax. Having been captured and tortured for months shortly after graduating from university for "suspected terrorist activities" he is arrested under the PATRIOT act and only released after there is no evidence of his connection to terrorist activities.
The film goes through some pretty unspeakably awful things to depict what is done to break the prisoners. Sam proves no different, breaking as well, but of course not being a terrorist, has nothing to reveal. He's mentally scarred after being released and marries Maya, but unable to find comfort, he follows a cryptic message given to him by another inmate who leads him to a terrorist cell in NYC. Omar, upon realizing that the US government is indirectly responsible for turning him into a terrorist, realizes that there is hope for him still, and tries his best to work with the FBI while attempting to get Sam to recant.
Although you don't sympathize with what Sam becomes as you see what he was put through, you can still see that it was done to him, and not a function of his own choice. Omar's character is played well and is a strong counterpoint to Sam. The film's main weaknesses lie in its completely absurd depictions of American college and suburban life, but this is more or less a function of it being a Bollywood movie... they aren't really known for researching anything beyond an American stereotype when making these kinds of films as most of those scenes are thrown in as rickshaw-driver crowd pleasers. The other weakness is Katrina Kaif's character, Maya, who aside from being a boring and stolid middle-of-the-triangle character, is also an awful actress. I've never understood this Indian obsession with her; I don't find her all that attractive and I can think of many other actresses who could have fit the bill, were equally attractive, and could actually act worth their own salt.
On the other hand, the main purpose of the film, to portray Muslims in Americas' lives before and after 9/11, both succeeds and fails. Yes, Muslims were not really as persecuted beforehand; on the other hand, they're really not all that persecuted now. I realize Kabir Khan is making a more allegorical film, but he would do well to recognize that he's drawing up an artificial distinction. Before 9/11, the US still had racial and religious tensions, and little has changed afterwards, if at all. The effect of 9/11 was temporary, and while it certainly changed my view forever, the way it's depicted in the film is almost completely ridiculous. Indians, before they became more prolific in the American media and public life, usually kept their heads down; I certainly did. We were quiet contributors to society and are generally white collar workers who would spend time at college, uh, studying, not playing the class clown. I find it a little irritating that again, as usual, the Indian director in question, Kabir Khan, did not bother to do his research by interviewing real NRIs and first-generation Indians here. Of course, it's likely he was just making a popcorn flick in the guise of a sociopolitical film, so it hardly matters.
The thing that probably bothered me the most is the depiction of how people reacted after 9/11. They looked at the TV set where the twin towers were falling.... and kept watching. Really? Let me give you my personal story. I was in middle school at the time. My classmates kept talking about the "Muslims blowing up the twin towers", and myself not being a Muslim but being an Indian, I didn't think they would target me. Then I get a call from my mother to pull me out of school for the day for fear that there could be a retaliation against me - and she was right. I didn't attend school for three days because my parents were afraid if we stepped out of the house, we would get shot in retaliation for attacks they had nothing to do with, simply because of our brown skin. THAT is the real effect of 9/11.
I would recommend this movie to anyone who's interested, in any case; just take their cultural depictions with a grain of salt.
Nice
iimraann5 July 2009
Despite having heard lots of depressing opinions on this movie I decided to watch it & I am really happy that I did. Although, yeah, most of the points were predictable, I'd give it a better than average vote for depiction of the agony, loss of confidence & retaliation that develops due to gross mistreatment. This part was well done. I liked the balanced & nervous character that Neil portrayed. I wasn't fully convinced with the rationalization that Roshan (Irfan Ali) made; that part should be given more work. If Karan is to come with his version of 'New York', he'd have to keep this rationalizing part real impacting.
Most people commented about the movie not being aptly emotional. I disagree. I'd like the way how the team worked to make it what I call "Not Sappy".
I'm really happy that the Indian Film Industry is making these bullshit free movies. Thanks for this.
Most people commented about the movie not being aptly emotional. I disagree. I'd like the way how the team worked to make it what I call "Not Sappy".
I'm really happy that the Indian Film Industry is making these bullshit free movies. Thanks for this.
Post 9/11, A Terrorist of their own making
manoj-aryan3 August 2009
"Terrorism can never be justified", says FBI officer Roshan played by ever dependable Irrfan Khan to Omar (Neil Nitin Mukesh) an undercover agent who is planted in his friend Sam's (John) house. In the wake of 9/11 thirteen hundred suspects were arrested and detained to prison camps by federals where they were tortured and kept under inhuman conditions. Whatever happened over there was dark spot in their history but that doesn't justify turning into terrorists bombing buildings and killing anyone for that matter. Officer further tells him, yes, those were desperate times. It wasn't easy for anyone and in desperate times governments make mistakes, people take wrong decisions.
In-charge of highly sensitive terror suspect case in spite of him being a Muslim he says this can only happen in America. He is fighting for protecting that freedom.
New York Kabir Khan's second feature film (after fairly good topical entertainment Kabul Express) this potent moment in the entire film.
In-charge of highly sensitive terror suspect case in spite of him being a Muslim he says this can only happen in America. He is fighting for protecting that freedom.
New York Kabir Khan's second feature film (after fairly good topical entertainment Kabul Express) this potent moment in the entire film.
Unmitigated trash!
sbahl27 June 2009
Honest confession: I am writing this review only because I am completely perplexed by critics' and moviegoers' reactions to this film. Accolades are being showered upon every aspect of this film, from the direction to the acting to the music. People are talking about bold moves in Indian cinema and saying how this is a step in the right direction. I have something to say to all that, and to the movie – Bah! For the sake of completeness of the review, let me quickly summarize the film: the film revolves around 3 young people of Islamic origin whose lives undergo a significant transformation in the post-9/11 world in New York City. Enough said about the story and the plot. Let's get on to how the film does.
The first thing to do before reviewing the film is to separate the sensitivity of the film's subject from the quality of the film, because those are two entirely different aspects. Let me re-state this, because this is what I have noticed in a large number of reviews of this film: the film does not automatically become entitled to a 4/5 rating just because it deals with an important topic. Films have to stand up on their own, for the quality of the film-making, irrespective of whether they deal with religion, politics, family problems, teenage angst, or just a cat-and-mouse chase over a piece of cheese. And that's where this film fails pathetically. While the film's premise is sound, and the story are the plot are good, it is in the execution that the film falls apart completely. The direction is the biggest culprit, for the film does no justice to the writer's vision at all. The film did nothing for me – it did not make me reflect on anything that has happened in the last 8 years since 9/11. There is nothing in the film that is not already well known, and the visual portrayals of all that we have heard all these years were weak at best, and won't really ruffle any feathers.
The acting was nothing short of horrible – from the main cast to the supporting crew. Katrina, with her natural accent, actually managed to fit in somewhat into her role, but what the heck were John and Mukesh doing? Even Irrfan Khan's respectable performance could not salvage the acting front. And while we are on this, what's with Indian filmmakers picking up the worst possible foreign actors for Indian films? Do they think that "white actor" = "good actor by default" for some reason? Every time Irrfan's boss opened his mouth, or actually just showed his face, I wanted to cringe and hide under the seat. And that guy who John strikes a business deal with – where did they pick him up from? This is New York Kabir Khan – half the stewards and bartenders across the city of Manhattan are wannabe stars, and very, very good actors. Walking into 10 bars in NYC would have completed the foreign acting requirements of this film, and would have taken the film's overall acting up to stratospheric levels.
And since I mentioned New York, um-mm, why exactly is this film called New York? Just because we saw the two towers fall down? New York City is made for shooting films, and the director under-utilized this city so much that he landed up making this film pretty much city-agnostic. It could have been shot anywhere – really. LA, San Francisco, even London would have worked as well. What a waste! Other aspects: the cinematography was mediocre; the production was pretty much the same; the dramatic arc non-existent – one could tell at pretty much every moment of the film what the next scene would be and hence there was nothing to look forward to. The music, to give credit where it is due, was one of the few beacons of hope in this otherwise dark film.
I rue this film in particular because it had so much potential, and because it missed a great opportunity to sensitize the Indian audiences to the darkness of the post-9/11 era. Kabir, Sandeep, the cast – please go and read a book like Mohsin Hamid's "The Reluctant Fundamentalist" if you really want to feel the pain of the innocent victims of this period. And respect their trauma – please do not trivialize their problems by churning out 2 hours 15 minutes of unmitigated trash.
The first thing to do before reviewing the film is to separate the sensitivity of the film's subject from the quality of the film, because those are two entirely different aspects. Let me re-state this, because this is what I have noticed in a large number of reviews of this film: the film does not automatically become entitled to a 4/5 rating just because it deals with an important topic. Films have to stand up on their own, for the quality of the film-making, irrespective of whether they deal with religion, politics, family problems, teenage angst, or just a cat-and-mouse chase over a piece of cheese. And that's where this film fails pathetically. While the film's premise is sound, and the story are the plot are good, it is in the execution that the film falls apart completely. The direction is the biggest culprit, for the film does no justice to the writer's vision at all. The film did nothing for me – it did not make me reflect on anything that has happened in the last 8 years since 9/11. There is nothing in the film that is not already well known, and the visual portrayals of all that we have heard all these years were weak at best, and won't really ruffle any feathers.
The acting was nothing short of horrible – from the main cast to the supporting crew. Katrina, with her natural accent, actually managed to fit in somewhat into her role, but what the heck were John and Mukesh doing? Even Irrfan Khan's respectable performance could not salvage the acting front. And while we are on this, what's with Indian filmmakers picking up the worst possible foreign actors for Indian films? Do they think that "white actor" = "good actor by default" for some reason? Every time Irrfan's boss opened his mouth, or actually just showed his face, I wanted to cringe and hide under the seat. And that guy who John strikes a business deal with – where did they pick him up from? This is New York Kabir Khan – half the stewards and bartenders across the city of Manhattan are wannabe stars, and very, very good actors. Walking into 10 bars in NYC would have completed the foreign acting requirements of this film, and would have taken the film's overall acting up to stratospheric levels.
And since I mentioned New York, um-mm, why exactly is this film called New York? Just because we saw the two towers fall down? New York City is made for shooting films, and the director under-utilized this city so much that he landed up making this film pretty much city-agnostic. It could have been shot anywhere – really. LA, San Francisco, even London would have worked as well. What a waste! Other aspects: the cinematography was mediocre; the production was pretty much the same; the dramatic arc non-existent – one could tell at pretty much every moment of the film what the next scene would be and hence there was nothing to look forward to. The music, to give credit where it is due, was one of the few beacons of hope in this otherwise dark film.
I rue this film in particular because it had so much potential, and because it missed a great opportunity to sensitize the Indian audiences to the darkness of the post-9/11 era. Kabir, Sandeep, the cast – please go and read a book like Mohsin Hamid's "The Reluctant Fundamentalist" if you really want to feel the pain of the innocent victims of this period. And respect their trauma – please do not trivialize their problems by churning out 2 hours 15 minutes of unmitigated trash.
a nice concept..
rishabh-bitsgoa26 June 2009
Warning: Spoilers
I was actually very keen to watch the movie as the promos were nice and fresh. Just watched it yesterday night on the first day of its release and it lived up to my expectations. the movie is not about the 9/11 ( as the newspapers suggested ) but is about the impact and hardships that follow. Kabir Khan has done a nice job, this one is much better than " Kabul express ". Katrina kaif is stunningly beautiful and does justice to her role. john abraham has done an awesome work, the scenes shown in the promo with john naked and locked up are indeed very intriguing. Niel nitin mukesh has indeed added a nice perspective to the movie. his acting is also up to the mark..... irrfan is as usual great. the storyline and editing may have been a little off the mark but all in all it is a nice film and should be seen.
Loss of humanity in times of crisis
m_shankar208 July 2009
Finally a Yashraj film that has a New York setting for a reason! New York is a very welcome film to end the long drought of films because of the producers-multiplexes tussle. It has a young and fresh cast comprising of John Abraham, Neil Nitin Mukesh and Katrina Kaif, a good story and very able hands of the director Kabir Khan.
The story is set in New York (duh!) and chronicles the impact of 9/11 on the lives of 3 people of Indian origin living in the city. It has good pace and never drags. The story does not need the actors to do much and hence the three lead actors pull it off well. Neil Nitin Mukesh would be the pick of the three, though you see the chinks when he has to speak out long dialogs in a stretch. Katrina Kaif is very natural; it is almost like she is playing herself and hence is very good at it. The climax requires her to do a little bit and you see her limitations as an actor. John Abraham matches up to his co-stars. Standing up against the lead star cast is the character actor Irfan Khan - easily an excellent choice for the role he plays. Not surprising then that Irfan gets some of the most poignant lines of the whole film.
Kabir Khan follows up his last film 'Kabul Express' well with New York. Both are Yashraj productions and Kabir Khan is definitely one of the best directors in that banner. Both his films have a strong script (a lesson for other Yashraj directors) and very neat execution. A good job done.
The story is set in New York (duh!) and chronicles the impact of 9/11 on the lives of 3 people of Indian origin living in the city. It has good pace and never drags. The story does not need the actors to do much and hence the three lead actors pull it off well. Neil Nitin Mukesh would be the pick of the three, though you see the chinks when he has to speak out long dialogs in a stretch. Katrina Kaif is very natural; it is almost like she is playing herself and hence is very good at it. The climax requires her to do a little bit and you see her limitations as an actor. John Abraham matches up to his co-stars. Standing up against the lead star cast is the character actor Irfan Khan - easily an excellent choice for the role he plays. Not surprising then that Irfan gets some of the most poignant lines of the whole film.
Kabir Khan follows up his last film 'Kabul Express' well with New York. Both are Yashraj productions and Kabir Khan is definitely one of the best directors in that banner. Both his films have a strong script (a lesson for other Yashraj directors) and very neat execution. A good job done.
Another infantile commentary on 'our times' by Bollywood...
dsangari5 July 2009
Warning: Spoilers
There have of course been many films on 9/11, ranging from exposes indicting the US government and from paranoid assaults on Islam and Muslims themselves, blaming their culture and religious beliefs for that tragic event. Not to be left behind, Mr. K Khan and Yashraj Studios decide to do their take on the whole phenomenon. The Film starts off on a college campus and shows John Abraham as the blue eyed boy/Casanova of the 'desi' circle, and Katrina Kaif as his sweetheart. Neil Nitin arrives on the scene as the good-boy 'newbie' and eventually becomes the heartbroken Cyrano. who for some reason despite his college education, ends up driving an NYC Taxi. One day he finds himself in the hands of the FBI as represented by who else but Irrfan Khan, who accuses him of transporting weapons for Jihadis. The plot boils down to a classic tale of 'Your friend has become a terrorist, infiltrate his gang and help us bring him down.' The film ends with the deaths of most of the main protagonists and some pertinent questions about the Patriot act and US foreign policy. My problem with this film is manifold. Firstly, while the film tries to raise some important issues, they are basically couched in the Indian middle classes' deep and undying devotion for Uncle Sam and its pop culture. for example the main cast is shown as this completely Americanized wannabe Desi bunch and virtually no attempt is made do give their characters a back story despite several mentions of their familial situations; instead, the film wastes all its time on crappy music numbers. Secondly, the film falls into the same trap of colour politics that has plagued the Indian psyche for decades. Dialogs like 'you look just like an American' or 'he is completely American' referring to Katrina and John give away a deep insecurity and desire to fit in. Model and skin bleach cream salesman Abraham and Yellow hued Mukesh (cast for his relatively pale skin), could barely carry off their American accents, let alone convincingly play American Desis! Simply no references to even American culture are included in key dialogs and situations. Kaif is equally unconvincing. Also notably, the actor used to portray John and Katrina's child is actually Caucasian!! How can an Indian couple have a white child??? The casting too betrays the Indian insecurity about the colour of their skin. Thirdly, the film which meanders through its plot with soppy sentimentality and childish logic, displays a scanty and embarrassing ignorance for the city whose name it proudly bears. As someone who has lived and worked in New York, I could pick out several holes regarding choice of locations that I won't go into here. Suffice to say Indian cinema should refrain from grappling with stories of injustice 7000 miles away when 820 million Indians live on 20 rupees a day and more people die of state and army brutality that terrorism annually! I think 'Khuda ke Liye' stated the subcontinents' discontent with US politics in a far more eloquent and sensitive way, with better music too...
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