The media reacts to Apaharan
That Jha is a talented filmmaker is no revelation, and his film begins with
The truly brilliant part of the film is the dialogue. With a crisp and
clever use of metaphor and idioms, the lines pack a terrific, applause-worthy
punch, especially in the hands of a very talented cast.
In Apaharan, Jha has achieved a balance -- not always neat but constantly riveting
-- between drama and documentation, irony and tension without letting go of
his beliefs. He has his dependable cast to support his cause. Nana Patekar,
Yashpal Sharma and Mukesh Tiwari (as an honest cop trying hard not to buckle
under corruption) are outstanding. Devgan proves once again that he knows his
After a run of romantic comedies it's refreshing and surprising to see a serious
film like Apaharan come out of Bollywood stable. And it's thanks to gutsy and
intelligent filmmakers like Jha that politically sensitive topics like those
at the core of this film are dealt with sensibly. By casting popular character
actors Devgan and Patekar in leading roles he cleverly appeals to the working-class
Indian masses the story the message of courage triumphing over greed isn't overshadowed
by their characters's religious differences. The end result helps you pardon
the near three-hour length.
Read full review ( http://www.bbc.co.uk/films/2005/12/02/apaharan_2005_review.shtml)
The Indian Express
Very few films live up to the hopes raised by both what the film-maker has
done before, and to reports of how it has shaped up. Apaharan scores high on
both counts. Prakash Jha, back in Bihar after Mrityudand and Gangajal, with
a window on the murky world of corruption, cops and kidnappings, is still in
crackling form, and delivers a film which spares you none of the savagery which
goes with the territory. The film hits hard and makes you think.
Read full review (http://cities.expressindia.com/fullstory.php?newsid=159908)
The Hindustan Times
As far as his cinematic idiom goes, Jha can perhaps never go wrong handling
a Bihar theme. His knowledge of the grassroots socio-political set-up is too
sound - as has been revealed aptly in his earlier films - and he probably writes
Bihar screenplays in his sleep these days.
So, when Jha returns to Bihar and takes up the topical issue of kidnapping
in the state, you're definitely interested. Apaharan tackles the issue head-on,
weaving into it the ideological battle of a father and son duo.
Read full review (http://www.hindustantimes.com/news/1153_1565116,001100030005.htm)
Prakash Jha returns with the kind of cinema that he is known for - socially
relevant, realistic and compelling. If Bollywood had a choice, it would want
us to believe that other than the Mumbai underworld, there exists no crime in
any part of the country
At times, the narrative turns too grim and thereby hampers the flow of
the film. The smooth first half isn't backed as well by the second - the climax
could have been shortened in length. Overall, the lazy editing disappoints.
Read full review (http://ww1.mid-day.com/hitlist/2005/december/124949.htm)
When director Jha revisits Bihar's hinterlands for a hard-hitting, reality
take on corruption, you expect a Gangaajal sequel, especially with Devgan in
the lead again. But Apaharan doesn't just involve stacks of money changing hands.
By taking on the kidnapping racket, it explores new ground despite its predictable
story of a man who gets sucked into the nexus.
Read full review (http://web.mid-day.com/1news/city/2005/december/125066.htm)
As a statement of fact about a state, where facts have surpassed limits of
popular fiction, Apaharan is an achievement. That it makes it to the screen
just as Bihar sees a sudden ray of hope with the fall of Laloo's goon-government,
lends the film a touch of optimism that may be missing from its screenplay.
A sure-watch then.
Read full review ( http://www.mumbaimirror.com/nmirror/search/mmsearch.asp?query=§id=10&articleid=124200505856296124200505835500&pubyear=2005&pubday=4&pubmth=12)
Daily News & Analysis
Even the most news-savvy viewer will be startled by Prakash Jha's expose of
the Apaharan trade in his homeland, which no other film maker has visited with
such relentless concern.
Right from the raw Damul to the more polished Gangaajal, Jha's agenda has been
to report on the state's rampant corruption, political savagery and the absence
of social justice.
Read full review (http://www.dnaindia.com/sunreport.asp?newsid=1000379)
Prakash Jha has, most of the times, attempted realistic, hard-hitting films.
The films seem straight out of life, as if you're watching a real-life incident
unfold right in front of your eyes. Such socially relevant films act as an eye-opener
since the films at least make an effort to prick your conscience.
Many critics have slammed Apaharan for being too grim and dark a film for mainstream
audiences. Au contraire, I found the film to be Jha's most commercially engrossing
venture. The scenes of kidnapping and Ajay beating up Gaya Singh are directed
with very intentional mainstream chutzpah. Don't let the reviews fool you. Apaharan
is factual yet interesting, gritty yet absorbing.
By now, Prakash Jha has acquired a deft command over making films on hard-hitting
subjects. Without sacrificing realism for the sake of entertainment, Jha tells
a tale that stirs you and disturbs you. The portrayal of the criminal impunity
of the strong ones and the vulnerability of ordinary people who take the blow,
makes you feel frustrated about the breakdown of law and order situation in
a state within the world's largest democracy.
Read full review (http://www.apunkachoice.com/movies/mov598/apaharan-review.html)
The New York Times reader's review
This movie is worth seeing. A total paisa wasool movie at least for the viewers
belonging to Bihar and UP.
Read full review (http://movies2.nytimes.com/gst/movies/movie.html?v_id=339282)
The Times of India
Jha picks his narrative straight from the current headlines but he backs it
with intensive research and great drama
Apaharan is a powerful film with
riveting performances by Ajay Devgan, Nana Patekar and Yashpal Sharma.
The Free Press Journal
Apaharan will find a berth among the outstanding political films of the present
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