Review of the film Fakir of Venice: Farhan Akhtar's film is a showpiece

Distribution: Farhan Akhtar, Annu Kapoor, Kamal Sidhu

Director: Anand Surapur

Rating: 2 stars (out of 5)

A Few Minutes Later The Fakir of Venice the protagonist-narrator Adi Contractor (Farhan Akhtar, in which he was the lead) lands in the legendary Italian city in the company of a dummy fakir, an alcoholic and middle-aged construction worker from a Mumbai slum. Adi presents the confused poseur to an art curator in Venice just as deceptive as a man "from another dimension". Needless to say, he hardly looks at the role. The film in which these three characters are found is another decade.

A lot of water has flowed on the cbads and under the bridges of Venice since the film's premiere, in 2009. It has arrived for ten years, in the cold, hoping to find tenants in the multiplexes. . Does it do anything that could prevent the audience from staying completely cold? Precious little. There are times in The Fakir of Venice however, which are promising. It could have been a much more engaging film if only his philosophical core was supported by a greater talent as a filmmaker. This is done by his bland style and low narrative energy.

Farhan Akhtar and Annu Kapoor, portrayed as Sattar Ali, a poor day laborer from Mumbai who agrees to become an "object" in an art installation in a distant Italy, strike. good grades. But the plot is so thin and the pace as insulting as both actors fail to give real life to the story.

The fact to live, The Fakir of Venice directed by advertising filmmaker Anand Surapur after a screenplay by Rajesh Devraj ( Quick Gun Murugan, Gold ), explains death and fear of death through the character of Sattar, a man who was forced by a fate spell to stop making a living by holding his breath for hours and burying himself underground on Juhu Beach. It is an act that defies death – the highest form of meditation, Adi tells a gallery visitor later – it helps him and his married sister Hameeda (Jhilmil Hazarika) to protect themselves shortage. [19659005] The film also deals with the "art" of the fraudster, which is necessarily based on the creation of credible stories even when they are strange and on the ever-present possibility of creating links between the cultural and social divisions. It is in this context that the character played by Kapoor acquires a much greater meaning than that described by Farhan Akhtar. The latter is a city dweller who comes to the rescue of film crews when they need the most bizarre things for a shoot. "I never say no," he warns. The man has the ambition to go to the United States to join a film school

An Italian curator, Mbadimo (Mathieu Carriere), plans an installation in a Venetian art gallery. Adi, "Eddie" to the Italians, is invited to provide a fakir. His research in Varanasi is empty. When all seems lost, he is taken to the homeless Sattar, who paints tall buildings to make ends meet. Adi sees in Sattar an opportunity to quickly earn money.

The improbable couple – one is an English fixator, the other perfectly ignorant of the ways of the world – finds himself in Venice. Sattar must spend several hours twice a day for a week, buried in a part of the gallery, with only his joined hands protruding to beg. "It's a strange way to spend a lifetime," comments one visitor. "People are doing strange things," Adi replies. This corresponds to his belief that "everything is possible in India."

The Fakir of Venice whose core would have been inspired by the personal experiences of the author-director Homi Adajania, has more More than average ambition: it asks questions about art and life, about spiritual faith and human trust, about sickness and death. The scenario unfortunately has neither the depth nor the depth needed to give full justice to the potential scope of the film. [19659005]

There are many things that are wasted in The Fakir of Venice – not just Kamal Siddhu, who interprets Adi's exquisite girlfriend, Mandira, the woman who helps Sattar acquire the fakir look, then disappears completely from the scene.We focus so much on Adi and Sattar that any possibility of Gia of Carnelutti, Valentina's Italian actress, start to understand endre through the manipulation to which Sattar is subjected, to turn rounded the figure itself is blocked.

The worst victim is Venice herself. The city is the backdrop and, unfortunately, it's all that it is. The camera captures some remarkable facets of this unique location – including its imposing structures and waterways – but never in a way that would improve the overall visual quality of the film.

The Fakir of Venice [Fakir de Venise] is an interest free rate. The only point of interest in the film is the prospect of a young Farhan Akhtar playing a man whose manners are similar to those who are somewhat unpleasant. But like many other films in this film, the personal-interest features that define Adi do not appear clearly enough in his exchanges with the simple Sattar spirit.