By: Farhana Sultana

Monday, July 19, 2004

Cast: Tusshar Kapoor, Antara Mali, Raghuveer Yadav, Govind Namdeo, Raman Trikha, Rasika Joshi
Director: Prawaal Raman
Producer: Ram Gopal Varma and K Sera Sera Production
Cinematography: Pietro Zuercher
Music: Ajay Atul and Amar Mohile
Lyrics: Taabish Romani

Prawal Raman had expertly executed an ingenious idea with his debut DARNA MANA HAI (2003), produced by Ram Gopal Verma. GAYAB is clearly an extension of one of the stories in DARNA MANA HAI, 'Stop'- in which a loser (Aftab Shivdasani) attains the might to pause the world by a whisper. Prawal replaced Aftab Shivdasani with Tusshar, and Antara plays his ladylove.

Vishnu Prasad (Tusshar Kapoor) is a loser who does an honest job of selling water purifiers. He has no friends, is bullied by all, and the love of his life - Mohini (Antara Mali) - is in love with somebody else. To add to this, his ever-taunting mother adds to his life's torment. Badgered by Mohini's boyfriend - Sameer (Raman Trikha) - Vishnu Prasad randomly wishes to the deity (from 'Stop', DARNA MANA HAI) that he would rather be "gayab" (invisible). Viola, wish granted. The plot has resemblance to films like BIG (Tom Hanks), MASK, HOLLOW MAN, MR. INDIA, and KOI MIL GAYA to name a few. Vishnu uses the power of 'gayab' to woo his woman while also avenging those who have troubled and mocked him, notably Mohini's beefy boyfriend. He also does everything within his power - like robbing a bank - to impress Mohini. The man becomes obsessed and his acts become crimes.

GAYAB has an interesting theme, but the makers have not taken advantage of the scope that a subject like this allows. GAYAB was ripe with potential that unfortunately acceded to the platitudinous Bollywood convention. GAYAB is an interesting idea gone astray. Prawaal Raman's direction is a commendable attempt, considering the concept of 'invisibility' not being a very easy one to execute. However, there is scope for improvement. He is technically brilliant, but is yet to grasp the art of writing the screenplay to keep the viewers interested.

 Aptly cast, marvellously performed Tusshar Kapoor is exceptional. This is his best performance to date. He looks the part of the clumsy Vishnu Prasad and at complete ease with it. Truth be told, GAYAB is totally Tusshar's film. So far seen playing the college dude, Tusshar finally finds a meaty role. His co-star Antara Mali going overboard with her scanty wardrobe does not impress. She suffers due to weak characterisation, concentrating more on sexuality than her acting. Raghuvir Yadav as Balwant Rai (Tusshar's father) has done a brilliant job. Shanti Rai, the 'bitter-half' (Tusshar's mother) played by Rasika Joshi, is very loud in her cantankerous role. Ramman Trikha's beefy-boyfriend act is surprisingly free from malice. Govind Namdeo is top notch.

The film starts off as a gripping film, but soon after by the second half you lose interest. As the film progresses, the screenplay does the 'disappearing act'. Leaving a handful of scenes the two-hour flick is lacklustre screenplay. Cinematography does help Prawal to some extent but Ajay-Amar's music is a let down. Piatro Zuercher's cinematography is brilliant. Special effects by Huzefa Lokhandwala are good at times, but shoddy at places. If only special effects and excellent cinematography could save a film.

GAYAB is implicitly a short tele-film distended to a full feature. The story made for an interesting 30-minute episode but doesn't have enough meat to hold its viewer for two and half-hours. All said and done, GAYAB is high on hype and low on content.

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