By:
Taran
Adarsh,
IndiaFM
Friday,
June
16,
2006
With
the
influx
of
multiplexes
in
India,
a
new
layer
of
movie-going
audience
has
come
to
the
fore.
As
a
result,
themes
that
were
considered
taboo,
unthinkable
or
untouchable
till
a
few
years
ago
are
slowly
finding
their
way
into
Indian
movieplexes.
Sure,
times
have
changed...
Director
Ashu
Trikha's
third
outing
Alag
also
defies
the
stereotype.
Yes,
the
male
protagonist
in
Alag
is
blessed
with
powers,
but
the
film
is
not
about
Superman,
Spiderman
or
Batman.
Alag,
the
desi
version
of
the
Hollywood
film
Powder
[1995;
Sean
Patrick
Flanery],
tells
the
story
of
an
unusual
youth.
He
is
bald,
has
no
eyebrows,
his
body
has
no
hair
and
he
possesses
the
most
advanced
intellect.
He
also
has
a
strange
affinity
for
electricity.
Radios
and
televisions
don't
work
around
him
and,
during
thunderstorms,
he
acts
like
a
lightning
rod.
Indeed,
an
alag
concept
for
Indian
moviegoers!
If
the
premise
of
Alag
is
its
USP,
it
has
a
flip
side
too.
In
India,
the
image
of
a
superhero
is
that
of
a
dashing
man
wearing
a
mask,
out
to
save
mankind
from
unscrupulous
elements.
In
Alag,
the
protagonist
doesn't
possess
any
of
the
powers
that
Indian
mythology
or
any
comic
book
superhero
boasts
of.
It's
more
of
scientific
mumbo
jumbo
here.
And
it's
for
this
reason
that
Alag
limits
itself
to
a
tiny
section
of
movie-going
audience.
Yet,
all
said
and
done,
Alag
is
watchable
for
two
reasons.
It's
a
well-told
story
with
a
motivating
performance
by
its
lead
actor,
Akshay
Kapoor.
And
if
you
have
an
appetite
for
alag,
hatke
cinema,
ALAG
suits
the
purpose.
Alag
begins
with
the
death
of
Rastogi
[Yateen
Karyekar],
who
has
had
a
cardiac
arrest
on
a
rainy
night.
When
the
police
begin
their
investigations
and
take
over
Rastogi's
mansion,
they
find
the
entire
setting
eerie
and
mysterious.
The
mystery
deepens
when
neighbors
claim
that
there
was
someone
else
also
living
with
Rastogi.
On
further
investigations,
the
police
realize
that
Rastogi's
son
Tejas
[Akshay
Kapoor]
has
been
hidden
in
the
basement
of
the
mansion.
The
boy
has
never
stepped
out
of
the
house
since
childhood
and
has
lived
in
darkness
all
his
life.
Nobody
can
fathom
why
he
was
confined
to
the
underground
room.
Nobody
knows
why
Rastogi
hid
his
own
son
from
the
world.
The
police
decide
to
place
Tejas
in
Purva's
[Dia
Mirza]
care.
Along
with
her
father
[Jayant
Kripalani],
Purva
runs
an
institute
for
orphans
who
had
stepped
into
a
life
of
crime,
but
desire
to
change
in
life.
Purva
voluntarily
agrees
to
help
Tejas
start
his
new
life.
But
one
look
at
him
and
she
knows
that
she
has
not
seen
anyone
like
him
before.
He
looks
alag,
behaves
alag,
is
alag.
Meanwhile,
Tejas
is
exploring
the
various
facets
of
his
newfound
world...
To
give
the
credit
where
it's
due,
the
plot
of
Alag
sounds
plausible.
It
is
effective
at
getting
the
audience
to
care
about
the
principal
personality.
Anyone
who
has
ever
felt
like
an
outsider
will
see
an
element
of
himself/herself
in
the
title
character.
It's
easy
to
sympathize
and
identify
with
the
loner.
However,
while
doing
all
that
competently,
Alag
consistently
avoids
taking
chances.
The
protagonist
always
does
the
right
thing.
No
matter
how
unjustly
he's
treated,
he
never
lashes
out.
It's
only
towards
the
end
that
he
uses
his
superpowers,
while
fighting
the
deceitful
scientist
[Tom
Alter].
Even
the
romance
between
Akshay
and
Dia
is
half
baked.
A
few
more
delicate
moments
would've
only
helped
in
making
the
emotional
climax
even
more
compelling.
Director
Ashu
Trikha
laces
the
film
with
several
noteworthy
moments.
The
sequence
in
the
dining
hall
[the
lead
man's
first
interaction
with
the
bully
and
his
cronies]
is
one
such
high
point.
His
reaction
to
the
shooting
of
a
pigeon
is
another.
Even
the
climax
comes
across
as
a
novel
experience.
More
than
anything
else,
Ashu
shows
the
courage
to
swim
against
the
tide.
But
he
should've
gone
all
out
as
far
as
the
writing
is
concerned.
If
you've
the
guts
to
opt
for
an
offbeat
theme,
why
opt
for
unwanted
songs
and
an
unwanted
romantic
track
out
of
the
blue?
Why
bow
down
to
formulae
suddenly?
You
cannot
sail
in
two
boats
simultaneously,
Mr.
Director.
Aadesh
Shrivastava's
music
is
a
mixed
bag.
'Saanjh
Ki
Pighalti',
the
romantic
track
between
Akshay
and
Dia,
is
soothing,
while
'Sabse
Alag'
[filmed
on
a
host
of
topnotch
actors
during
the
end
credits],
is
another
striking
composition.
But
the
tapori
song
['Apun
Ki
Toli']
as
also
the
hip-hop
track
['Hai
Junoon']
was
just
not
required.
It's
completely
uncharacteristic
for
the
recluse
hero
to
suddenly
break
into
songs
and
dances,
frankly.
Cinematography
[Fuwad
Khan]
is
up
to
the
mark.
The
visual
effects
are
first-rate.
Alag
rests
on
Akshay
Kapoor's
firm
shoulders
and
the
actor
handles
the
complex
role
with
confidence.
He
succeeds
in
making
you
feel
for
the
character
and
that's
one
big
achievement.
Besides,
he
imparts
that
certain
freshness
to
the
role
since
he
comes
in
without
the
baggage
of
an
image.
Overall,
a
commendable
job!
Dia
Mirza
is
highly
effective.
Although
the
story
revolves
around
Akshay,
Dia
manages
to
make
her
presence
felt
nonetheless.
Yateen
Karyekar
is
alright.
Mukesh
Rishi
has
a
miniscule
role.
Jayant
Kripalani,
as
Dia's
father,
is
up
to
the
mark.
Tom
Alter
is
stereotypical.
Beena
is
fair.
On
the
whole,
Alag
is
indeed
an
alag
experience,
but
more
of
an
experiment
that
caters
to
a
tiny
section
of
moviegoers.
At
the
box-office,
its
appeal
would
be
restricted
to
some
select
multiplexes
of
Mumbai
and
Delhi
only
[that
too
during
the
evening
shows],
while
the
business
at
the
traditional
Indian
markets
will
be
poor.