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What is equally worse is that when Jiah is fastened with bombs in the climax and Ajay is challenged to diffuse the bombs by entering two passwords in the laptop computer kept nearby, to save his girlfriend, the passwords turn out to be exactly – or almost exactly – the same passwords which he had mentioned in his script and which were the actual passwords of the museum. Would anybody be such an idiot as to make things so easy for Ajay?
The necklace thief, at one point, also explains that he did not kill Ajay so that the police would think, he (Ajay) is the jewel thief and arrest him. How could the necklace thief think so? A better option would’ve been for him to kill Ajay so that the police would close the file of the case, taking the thief to be dead. Obviously, the writer wanted to keep Ajay alive to further the drama but couldn’t think of a valid reason for the thief to not shoot him down – and so, came up with the lame excuse as above.
All in all, Mohan Savalkar and Marmbandha’s script is silly, childish and written without proper application of mind. Perhaps, the only nice part is the chase sequence towards the end.
No care has been taken to establish how the main characters in the drama are connected to each other. Like many other portions of the drama, even the track of the thief stage-managing Ajay’s meeting with the new producers so that they could sign him and also so that he would help them with the passwords to carry out the theft in real life, is too convoluted.
Shubh Mukherjee is alright in his debut role but he is no hero material. Sabina Sheema also acts quite well but she, too, lacks the requisites of a heroine. Milind Soman performs ably. Anupam Kher is good. Suresh Chatwal stands out in a small role. Suhaas Khandke and Mahrru Shaikh pass muster. Gajendra Chauhan, Anant Jog, Abhay Bhargav and Mithilesh Chaturvedi pass muster. Roza Catalano adds glamour in a song-dance number (‘Sulag sulag’).
Mohan Savalkar’s direction is as dull as the script. The film looks like a novice’s job. Bapi-Tutul’s music is functional. The ‘Sulag sulag’ song is okay. Camerawork (Roopang Acharya) and other technical aspects are okay. Dialogues (Rajat Vyas) aren’t anything to shout about. Action and chase sequences (Pradyuman Kumar) are quite exciting. Background score (Bapi-Tutul) could’ve been far better. Editing (Sanjay Sankla) should have been crisper.
On the whole, Nakshatra hardly thrills or chills. A non-starter, it will go largely unnoticed.
