After breaking up with his childhood sweetheart, a young man finds solace in drugs. Meanwhile, a teenage girl is caught in the world of prostitution. Will they be destroyed, or will they find redemption?
The film portrays the kidnapping of a little girl of 10, who is out with her father for the day. Her parents are divorced and her stepfather (a cop) steps in for the investigation. The suicidal mother has an ax to grind with both her ex-husband and her current husband. As the investigation proceeds, the characters are placed in sordid scenarios that reveal their unsavory sides; the mind games between the both the fathers in particular lend the procedural its most gripping drama as everyone else is getting greedy and ugly not caring about the kidnapped girl.Written by
Siddhanth Kapoor(Sradha Kapoor 's brother) voice is dubbed by Raj Kumar Rao. See more »
When Rahul is given 50 lakhs by the police to hand to the kidnapper, the amount should have been 20 lakhs instead. A few scenes before we see the police catching Shalini's brother who had actually demanded the 50 lakhs. So, that would leave the police with the phone call (by Rakhee) the source of the real kidnapper. And Rakhee had actually demanded 20 lakhs, not 50. See more »
This movie left you with the feeling of numb .Ugly sets a new dimension to the Indian Cinema . I am not a frequent watcher of Bollywood movies.But ugly movie is just beyond the ugliness of everything. A grungy, dark police procedural set in motion by a little girl's kidnapping, Ugly has few discernible auteur touches to set it apart from standard genre fare. Gone are the farcical, hyperbolic violence and the larger-than-life, tongue-in-cheek gangsters who modeled themselves on the movies. Gone is the wacky humor. Here the pettiness, egotism and corruption of modern Mumbai rule and the characters are all cheap and small—even the kidnapping victim is annoying. There may be a method here but if so, the result is very dark and downbeat for general audiences. The film's Cannes outing and Kashyap's cult standing could give it a little shelf life at festivals before it heads into genre venues. The cast of characters is presented haphazardly. Shalini (Tejaswini Kolhapure) is a desperate, middle-class housewife kept at home as a semi-prisoner by her macho police-chief husband Bose (Ronit Roy). She's about to blow her brains out with his gun when a knock on the door stops her. It's her daughter Kali (Anishika Shrivastava), whining for her to call her estranged father. This is Rahul (Rahul Bhatt), a down-and-out actor still waiting for his big break, who comes to take her for a drive. He's so distracted with phone calls he barely looks at her, and then he ominously leaves her alone in the car while he goes to talk business with his friend and casting director Chaitanya (Vineet Kumar Singh). Within minutes the girl is missing. Rahul becomes the hero by default as he searches for the girl, first through the police, then following the kidnappers' ransom messages. What little sympathy he inspires in the audience comes from his terrifying interview with local police captain Jadhav (played with gusto by the fine comic actor Girish Kulkarni). Instead of launching a manhunt for the girl, the captain absurdly chats about CELL PHONES and computers while the distraught Rahul chafes and Chaitanya attempts to cajole him into action. All at once, Jadhav realizes the missing girl is the stepdaughter of police honcho Bose, and his attitude switches to FBI pro. At this point the stone-faced Bose, who hates his wife's ex, orders him to accuse Rahul of the kidnapping and be beaten senseless. The rest of the film is a battle of wits between Bose and Rahul to find the girl while tripping up the other. Rahul and Chaitanya are monotonously arrested and rearrested. Police violence is graphic and frightening. They use the "latest" gadgets in their investigation— computers, CELL PHONES and GPS—like they were major novelties on CSI: Miami, which makes it seem the film is aimed mainly at local audiences. There is, however, a continuous sense of vitality and movement in the film, whose action scenes are foot chases filmed from a distance. Kashyap's nasty point is that, between violence, greed and corruption, just about no one is innocent in the end. Certainly all the characters are selfish beyond belief. This existential cynicism hits home in the horrific crime revealed in the last shot, but by that time, the emotions feel light-years away.
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