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When a maker of a film like 'Damul' produced 'Dil Kya Kare' some years back, many wondered what he was up to. He teamed up with Ajay Devgan in that film to ride on the emotional saga, but failed. Next, he attempted to read on child psychology in Subhash Ghai's 'Rahul' and the result was no different. And, then came 'Gangajal'. Director Prakash Jha was reborn as a filmmaker who turned out to be a prolific one ready to take up a head on competition with those commercial film makers who had tagged him as an art film director. In 'Gangajal', Prakash has found a new formula for success. He digged deep in his roots and came out with the ideas that were contemporary and yet loaded with all the commercial vignettes.

In Ajay Devgan, Prakash had already found a protagonist who was out there to support his crusade against the stereotype. This twosome team now strikes back in yet another contemporary and gripping 'Apaharan' (kidnapping). Son of a farmer from the least developed state of country ( Bihar), Prakash Jha has seen all this through his life. In Bihar, the kidnapping has become some sort of an industry. Mavericks of the crime world rule there and even the brightest students around have nothing to do but to fall a prey to their power, glamour and publicity gimmicks. This is the new India, a country that is dreaming to be the next super power in coming years. With a state like this as shown in 'Apaharan', it seems to be very harsh to even think of that? Thinkers, makers and believers of the new India, however, need to watch 'Apaharan' before making any new policy.

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Let us return to our film 'Apaharan' and see how it works as a film in theatre. 'Apaharan' tells the story of today's youth who have a lot of dreams and yet no path to go. It has almost been three decades since the J.P. movement ( anti-establishment) gathered momentum and many films were made on the theme of the misguided youth. Maniratnam's 'Yuva' was the last one in the chain. 'Apaharan' dares to be different from its predecessors for the reason that it does not try to copy them. The plot may seem very similar to the clash between a duty bound father and a vagabond son in 'Shakti' , but the similarity just ends there. The ideal father Professor Raghuvansh Shastri (Mohan Agashe) here is a courageous and conscientious citizen, but somewhere in the process while sticking to rules he loses a father's emotions. His son Ajay Shastri (Ajay Devgan) has grown up with his father.

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He too wants to become a great man. He makes efforts to succeed in a system where the powerful control everything . Ajay Shastri is soon fed up with idealism and chooses a path that takes him to meet Tabrez (a character loosely based on real life don-turned-politician Shahabuddin). Tabrez is a government in himself. He builds schools, cares for downtrodden, but he is a man in white with a heart of darkness. In the name of God, he can justify any act, holy or unholy. He is never afraid to play the dangerous game. For Ajay, this is a revelation. A system without a system and still more effective and functional than the system! Ajay's illusions seem to come true in this new set up. However, he sees the light on this dark path of crime and cruelty; there is a beautiful light in his life, Megha (Bipasha Basu). She loves Ajay and though their worlds are poles apart , she still cares for him and thinks positive about him. To compete in love, care, calmness of Bips is Sonia (Cleo Issacs).

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Prakash Jha has made a film that can open eyes of those who vouch for realistic and rustic films. Even a Ram Gopal Verma should sit and watch this film for its realism. Verma has made many films on a world of crime while Jha attempts to can a world that is often seen and felt; politicians turning criminals and criminals becoming politicians. Jails have become hideouts for the mafia and the latter rules the world from within these safe boundaries whereas commoners are on the roads, so vulnerable, so unsafe and so easy to be made targes.

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Prakash Jha succeeds in painting Bihar as a true jungle . Had the film been released amidst the very recent Bihar polls, it would have been labeled as a saffron attempt to malign the Laloo regime. Thank you, Prakash Jha for making such a film that should be an eye opener to many not only in the film industry but also in the present system as well. Jha has got immense support from his crew in this film and Wayne Sharp tops the list for very eccentric and groovy background music. Arvind K matches him in creating so realistic scenes on screen with camera.

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Among actors , for Ajay Devgan, 'Apaharan' could be yet another national award in waiting. He has given a performance that will upset many in the filmdom. Ajay may not be a blue-eyed boy of big banners, but he has made a place for himself with his intense, in-depth and in line acting. As Ajay Shashtri, he fits the bill and it is because of him that the film looks so realistic.

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His adapting the accent of an educated Bihari is marvelous and even his body language goes too well with the character. Bipasha Basu does not have much to do but yet she shows her natural beauty for the first time on screen; she looks better without make-up. And last but not the least, Nana Patekar is the main catalyst of the film. The movie moves ahead because of him only. In Tabrez, Nana has got a new life for his career. On the whole, it's a good entertainer with a thought process running as undercurrent. Carry on Prakash, this country needs more filmmakers like you.