Despite classy cinematography, a few moments of pure inspiration crafted by the lead actors and some effective punchlines (dialogue: Abhijit Deshpande and Gazal Dhaliwal), Wazir comes nowhere near checkmating the audience. Amitabh Bachchan and Farhan Akhtar, working together on the screen for the very first time, in tandem, are like a house on fire. But the duo’s all-out efforts to add sparkle to the film’s rough edges aren’t enough to turn the patchy game around. Wazir is supposed to be a suspense-filled thriller. While it does deliver a few thrills, especially in the slickly mounted and crisply edited first quarter, the intrigue it seeks to weave around its two pivotal characters simply does not cut deep enough.
The film’s most interesting part lies in the fact that it is a revenge drama but the protagonists are not angry. They are cold-blooded in their devious planning and perfect implementation. In a remarkable deviation from the typical Bollywood style, Wazir’s characters do not delve into the sadistic pleasure of avenging a wrong but concentrate on the final target. Despite the smaller flaws and the slightly botched up ending, the film is definitely worth a watch.
Wazir is a smart movie - which could have been way smarter. Wazir is held together by Amitabh Bachchan who shows why he is the Grandmaster of this game. Wazir's lead performances, its glassy cinematography, its haunting sound design, work well. What this game needed was more attack, less defence, less repetition, more relentlessness.
Wazir, despite boasting of some of the great performances, reasonably fails to leave the desired impact because of its convoluted script. At the box office, the film may just about appeal to a handful of the multiplex audiences who would want to get a taste of Bollywood entertainment in absence of any new film releases since past three weeks.
There are many good things about ‘Wazir’. First off, this is a film that’s backed by writing. Look, look, a plot. Hallelujah. Such a relief after so many plotless wonders masquerading as movies. Next, it brings back the actor in Amitabh Bachchan. And third, it respects our time, keeping things ticking at just over a neat 1.5 hours. If the second half had been as taut, the film would have been riveting.
Wazir's problem, then, lies not in the fact that it does what is expected from a thriller; the problem is that it does everything expected -- which makes it a film that surprises little and adds up to nothing of consequence. It has competent moments, but is too generic to be memorable, and that's a shame for it could so easily have been a winner. As it stands, Wazir is the one thing a chess player can never afford to be: Obvious.