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Kaam Jwala: The Fire (2004)

Kaam Jwala: The Fire (2004)

GENRESDrama
LANGHindi
ACTOR
Amit PachoriSapna SappuJunior JagdeepAnil Nagrath
DIRECTOR
Kanti Shah

SYNOPSICS

Kaam Jwala: The Fire (2004) is a Hindi movie. Kanti Shah has directed this movie. Amit Pachori,Sapna Sappu,Junior Jagdeep,Anil Nagrath are the starring of this movie. It was released in 2004. Kaam Jwala: The Fire (2004) is considered one of the best Drama movie in India and around the world.

Kaam Jwala: The Fire (2004) Reviews

  • Disorder in the court

    Davian_X2017-09-26

    Sapna's always getting into trouble. In KAAM JWALA – THE FIRE, however, despite the salacious title, said trouble is less as the result of her libido than the kind of good-old-fashioned cat fight that motivated Kanti Shah's spirited female dacoit flick MUNNIBAI. Here Sapna plays Roopa, courtesan to a lady of nobility whose social position Roopa resents. When a wealthy suitor (director Shah, Sapna's off-screen paramour) arrives to take Roopa's mistress as his bride, Roopa sees a pathway to revenge when their eyes meet at the imperial court. Despite not being allowed to take Kama Sutra lessons with her mistress, Roopa is soon showing the wealthy prince her innate sexual prowess, immediately usurping her charge's place in his heart. Of course, it's not long before Roopa's mistress discovers her duplicity and sends her packing, though Roopa vows revenge and maintains her aspirations of capturing the queen-hood. Wandering through the woods, she meets a handsome woodcutter, Jai (Amit Pachori), with whom she quickly begins not only to perfect her sexual skills, but learning the ways of love. When the opportunity arises for both to return to the palace, Roopa is forced to choose between her ambition and desire. Coming out of Shah's post-millennium slide into the true poverty- row, KAAM JWALA is rendered an instant camp classic by its impoverished means alone. While it's unclear exactly when the film is supposed to be taking place, the easily observed (and constantly rotating) ceiling fans nevertheless come off as anachronous, and the dime-store costumes prove just a shade more realistic than those in a George Kuchar film. Basically, the movie is a bunch of adults playing dress-up in a country mansion, so threadbare it almost serves as a satire of the lavish historical romances it's attempting to ape. That said, if you're willing to overlook the complete lack of funds, the bare-bones plot actually isn't half bad, presenting a compelling emotional tug-of-war between Roopa's harsh, take-no-BS inner opportunist and the softer side she discovers while developing a romance with the handsome Jai. While it's always fun to see Sapna and her husband together on screen (their sleazy bedroom encounter is a highlight of PYAASA HAIWAN), it's Pachori with whom she generates more sparks, and this chemistry creates a relationship that's weirdly, oddly plausible for a viewer to begin taking seriously. Of course, there's an inevitable and gratuitous spat at the beginning of the third act that drives Roopa (and subsequently Jai) back to the palace and comes off as the laziest kind of writing, but even this is forgivable within the confines of the genre. Where the film really errs is the ending, which **SPOILERS** finds Jai dragged out of the court and, presumably, put to death as Roopa rejects the prince's advances. Declaring that if she can't have Jai she doesn't want the prince either, she threatens suicide and the film just ends, freeze-framing and throwing up a "THE END" with the story still in flux. There's lazy (or bad) writing and then there's this, which feels like Shah and company ran out of either money or time (or both) during their weekend filmmaking getaway and had to pull something out of their rump in the editing room. It's a dumb, unsatisfying, and frustrating conclusion to a film that had been moving along surprisingly well up to that point. One comes to Shah's films expecting incompetence, but the outright contempt evinced here pushes the limit. That said, 99% of KAAM JWALA is still a worthy (if not exemplary) entry in the Shah canon, particularly the uniquely loopy subsection that constitutes his post-2000 work. Once again filming in his favorite country house (recognizable from PYAASA HAIWAN, VIRANA, DARINDA, DARWAZA and countless others) and with his trademark company of players (Sapna, himself, Vinod Tripathi and Anil Nagrath), Shah cranks out another dime-store adults-only epic, the individual stars of his particular cinematic universe once more configuring into a new-yet-strangely-familiar constellation, one more tweak on the same formula of eight adults spending the weekend in a house playing dress-up. Those fascinated like I am with studying poverty-row auteurs' filmographies as single, continuously evolving bodies of work will find plenty to appreciate here, and while it's not one of Shah's most exemplary pictures, it's nevertheless one more piece of the puzzle that demands to be experienced.

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