7 khoon maaf bollywood movie

Director: Vishal Bhardwaj
Cast: Priyanka Chopra, Vivaan Shah, Annu Kapoor
Before coming to Susanna's central story, let's highlight a small backstory of hers. As a kid, she had the option of two equidistant roads that led to her school. She always chose the same street from the two. When a mad dog started troubling her on that street, rather than changing her path, she chose to shoot the dog. This trivial background account justifies Susanna's quest to kill her husbands over simply leaving them.
The story is about the beautiful Susanna (Priyanka Chopra) who, over the years, gets married almost half a dozen times. Each of her husbands dies under mysterious circumstances - from the dominating Major Rodriques (Neil Mukesh), to the doped rock-star Jimmy ( John Abraham), to the sadomasochist poet Wasiullah (Irrfan Khan), to the bigamous Russian Vronsky (Aleksandr Dyachenko), to the exploitative inspector Keemat Lal (Annu Kapoor) to the premeditated Dr Tarafdar (Naseeruddin Shah).

Arun (Vivaan Shah), who had a childhood crush on Susanna and, more or less, has been a part of almost all these stories, narrates each episode to his wife (Konkona Sen Sharma) as the story unfolds to the viewer.
Post a quick and deceptive prologue, Vishal Bhardwaj unveils each marital episode of Susanna through simple and straightforward storytelling. With seven weddings and as many funerals in the offing, the screenplay written by Bhardwaj and Matthew Robbins enters late in each episode and keeps them short and succinct.
The chemistry between Susanna and her partners which leads to their subsequent marriage, is cut short throughout, since almost every chapter starts with Susanna being already married or Susanna tying the knot early in the episode. But then the film, essentially, is not about how Susanna gets married several times but, more importantly, about how each of her marriage ends. Also the animosity in each track is as quickly established as their implied chemistry.
None of the husbands are supported by any background accounts and you never feel the need either. Each of them is instantly introduced in the narrative and only to the extent that's essential to the plot. Through each episode, Bhardwaj attempts to touch diverse human emotions from envy, addiction, obsession, faith, lust and greed. The pacing is slow as the director gradually works to add intensity in every frame through the unique shot-takings, dialogues and performances.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.

Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.





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