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Producer/s:
Rajesh Kumar Singh, Sanjeev Jaiswal
Director:
Deepak Tijori
Cast:
Manoj Bajpai, Shilpa Shetty, Shamita Shetty,
Milind Gunaji, Kelly Dorjee, Parmeet Sethi,
Sonia Kapoor, Hemant Pandey
Music:
Anu Malik
Lyrics: Sayed
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 First
AITRAAZ. Then ZEHER. Now FAREB. Love triangles and relationships
in Hindi cinema have become bolder and volatile. The
third angle in the triangle [woman] is not the type
to take things lying down. She's not sugar-coated or
docile anymore, but spits acid and breathes fire if
provoked.
FAREB is not just a
love triangle, revolving around a man torn between love
[wife] and lust [the other woman], but also a murder
mystery. And the women in this story go to extremes
to get the man they desire.
After OOPS! [based on
the life of strippers] and KHAMOSHH - KHAUFF KI RAAT
[a slasher film], Deepak Tijori attempts FAREB, thereby
emphasizing on the fact that he's ready to experiment
with diverse genres. If Tijori showed a flair for treading
the uncharted path in OOPS!, but went wrong in KHAMOSHH,
he gets it right in his third attempt, FAREB.
Not that FAREB is path-breaking
cinema. In fact, FAREB is too ordinary a fare as far
as the script is concerned, but it's Tijori's execution
that holds your interest at several points in the film.
In a nutshell, FAREB
could've been a thoroughly engrossing fare, but the
script curtails its prospects to a major extent.
Aditya [Manoj Bajpai]
works as a creative director in an advertising agency.
His wife Neha [Shilpa Shetty], a medical practitioner,
is devoted to her husband and kid.
Riya [Shamita Shetty]
was married to a corporate honcho [Bakul Thakker], who
happened to be a client of Aditya's ad-agency. Riya
and Aditya meet at a presentation and she gets attracted
to him. Riya is completely smitten by Aditya and tries
to seduce him time and again. He spurns her initially,
but succumbs to her charms eventually. This leads to
a rift between Aditya and Neha.
And then the unthinkable
happens: Riya is murdered. The needle of suspicion points
towards Aditya and being the prime suspect, the cops
[Kelly Dorji, Hemant Pande] arrest him. Someone is also
watching Aditya and blackmailing him for his affair
with Riya. Who killed Riya?
FAREB isn't an original
subject. A theme like this has been witnessed with regularity
in Bollywood. A dash of AITRAAZ [Shamita's characterization
is similar to Priyanka's], a bit of ZEHER [sexcapades
outside marriage] and a tinge of BEZUBAAN [the blackmailer
angle] -- mix them, shake them and FAREB is ready to
be served.
From the writing point
of view, screenplay writers Brijesh Jayarajan and Girish
Dhamija open the cards at the very outset. A happily-married
couple, a young entrepreneur who has just lost her husband,
the woman seducing the man she wants to possess, the
blackmailer, the rift between husband-wife... So much
is packed in the first hour.
While Tijori handles
the plot convincingly, the pace slows down time and
again in this half. The slow pacing can still be overlooked
thanks to the twists and turns in the story, which genuinely
keep you involved. The intermission point, when Manoj
and Shamita have an ugly confrontation, only raises
the expectations from the second half.
But problems seep in
during the post-interval portions…
The story becomes one
of those routine murder-mysteries in this half. From
the motive and identity of the blackmailer to the actual
culprit in the finale, the sequence of events that lead
to the climax are plain mediocre. The identity of the
killer does come as a surprise, but not as a jolt. That
nail-biting finish is clearly lacking here!
Deepak Tijori takes
two steps forward as a storyteller. He gets the grammar
of film-making right this time, but the writers don't
match up to his enthusiasm. Tijori has also filmed a
few sequences with flourish. The courtroom sequence
for instance, when Manoj bears his heart out, is well
executed. Also, the sequences between Manoj and Shamita,
from the time they meet to the spat at the interval
point, remain with you.
Writers Brijesh Jayarajan
and Girish Dhamija could've thought of a far more imaginative
and innovative way to take the story to the finale.
Anu Malik's music is in sync with the film and thankfully,
the songs don't pop up every fifteen minutes. 'Pehle
Se Ab Woh Din Hain' and 'Barasja Ae Badal Barasja' [two
versions, at the start and end credits] are tracks that
come easy on your lips.
Cinematography [Manoj
Soni] is of standard. Dialogues [Girish Dhamija] are
okay. Editing [Asif Khan] could've been sharper.
Manoj Bajpai handles
his role with amazing ease. He is superb in two sequences
mainly, his angry outburst [with Shamita] and the courtroom
sequence in the pre-climax. Shilpa Shetty maintains
the studied silence part with grace and maturity. Shamita
Shetty is getting better with every film. First ZEHER
and now FAREB, she has evolved into a fine actor. Also,
she exhibits her anatomy without any inhibitions. Kelly
Dorji is expressionless. Milind Gunaji and Parmeet Sethi
are okay.
On the whole, FAREB
is an average fare. At the box-office, the not-too-happening
star cast coupled with ordinary merits and a super-strong
opposition [DUS] will result in FAREB going unnoticed.
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