Madhoshi(2004)
Cast: Bipasha Basu John Abraham Priyanshu Chatterjee
Director: Tanveer Khan
Music Director: Roop Kumar Rathod
Synopsis: A deliriously absurd but fun roller coaster ride full of amazing plot twists
Reviewed by: Faiz Khan

Madhoshi is an astonishing film, though probably not for the reasons its makers intended.

It is astonishing that, even in the modern era, a plot this wildly implausible could make it to the screen with such complete sincerity. Yet, by the same token, it proves to be an irresistibly entertaining rollercoaster ride. The film is littered with unintentional laughs, but one thing it can never be accused of is being predictable. It keeps the audience guessing right until its jaw-dropping finale, a climax of such magnificent preposterousness that you'll scarcely believe what you're watching.

The story opens with Anu (Bipasha Basu) chatting happily with her sister in America via webcam when disaster strikes. A computer-generated aircraft hurtles towards the window and, in one of Bollywood's more questionable recreations of real-life tragedy, the events of 9/11 claim the lives of her sister and brother-in-law.

Two years later, Anu is back at college, apparently having put the trauma behind her. Through family friends she meets Arpit (Priyanshu Chatterjee), a successful advertising filmmaker, and before long the two fall hopelessly in love, despite having to endure some truly dreadful dialogue along the way.

While travelling to Panchgani on a college assignment, however, Anu witnesses a violent shootout at a railway station. Amid the chaos, a mysterious stranger thrusts a revolver into her hands before disappearing.

The incident leaves her deeply shaken.

Soon afterwards, Arpit departs on an overseas trip and the mysterious stranger suddenly reappears, demanding the return of his gun. Curious, Anu visits his apartment and discovers that the enigmatic Aman (John Abraham) is apparently a vigilante engaged in a clandestine war against terrorist organisations.

Within minutes, common sense flies out of the window.

Anu becomes utterly obsessed with Aman. Arpit is almost forgotten as she devotes herself entirely to this brooding stranger, buying furniture for his apartment, spending every available moment with him and embarking upon a passionate romance with a man who repeatedly insists that he can never commit himself to anyone.

When Arpit returns and proposes marriage, Anu flatly refuses, declaring that she is in love with Aman instead.

There is only one problem.

Nobody else seems convinced Aman even exists.

Dragging her increasingly bewildered mother to his apartment, Anu discovers it completely abandoned. Gradually, everyone around her begins insisting that Aman is nothing more than a product of her imagination.

Or is he?

From this point onwards, the film embarks upon a succession of twists so outrageous that revealing any more would genuinely spoil the experience. Is Aman real? Is Anu losing her sanity? Is there an elaborate conspiracy? Or is something else entirely taking place?

Whatever the answer, Madhoshi steadfastly refuses to become predictable.

On paper, the central premise is actually quite intriguing, but the screenplay steadily collapses under the weight of its own increasingly implausible developments. Director Tanveer Khan doesn't help matters by saddling the opening half-hour with painfully clichéd romantic scenes and dialogue that frequently borders on the embarrassing. The early stages require considerable patience, and for a while it seems as though the film may simply drift into mediocrity.

Then John Abraham arrives.

His entrance injects an immediate sense of urgency and intrigue, lifting the picture considerably. Unfortunately, the screenplay never fully capitalises on his presence, preferring instead to pile twist upon twist until credibility has long since packed its bags and left.

Yet somehow...

it works.

Not because it is convincing.

Not because it is well written.

But because one becomes hopelessly fascinated by just how much more outrageous the film can become. It reaches that rare point where logic becomes irrelevant and curiosity takes over completely.

The performances are generally solid enough. Bipasha Basu shoulders the film competently, delivering a believable portrayal despite being asked to navigate some extraordinarily implausible situations. John Abraham continues to demonstrate his steadily improving screen presence, bringing a welcome intensity and restraint to the role of Aman. Priyanshu Chatterjee has the less rewarding task of playing the eternally devoted Arpit, a man prepared to sacrifice virtually everything for the woman he loves, and he performs the role with quiet dignity.

The soundtrack also deserves a mention, featuring several attractive songs that help smooth over some of the narrative's rougher edges.

Ultimately, Madhoshi is less a successful psychological thriller than an unforgettable exercise in cinematic excess. If you can survive the rather pedestrian opening twenty-five minutes, you are unlikely to want to leave your seat thereafter—not because the film suddenly becomes believable, but because you'll be desperate to discover how much further into madness it is prepared to venture.

It is utterly ridiculous.

Utterly implausible.

Frequently hilarious when it isn't trying to be.

And, against all odds...

deliciously entertaining.