Taxi Number 9211
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TAXI NO. 9211 is more of a Mumbaiya film. Set and shot in the metropolis, the film depicts a day in the life of two individuals whose paths collide on a fateful morning and life is never the same again. Though the identification for a Mumbai viewer may be tremendous, it nevertheless is a film that makes a bold statement about societal pressures and human conditions. And how external influences can compel an otherwise decent human being to do things that are despicable, shameful and disgraceful. TAXI NO. 9211 may come across as an experiment in terms of material, but it signifies the changing face of Bollywood. Again, the material may seem soaked in Mumbai, but the soul is very Indian. The father-son relationship, personal equations that fluctuate with fluctuating bank balances/fortunes and the frustrations of the common man� the premise is so real. In a nutshell, TAXI NO. 9211 may not boast of that archetypal masala Indian moviegoers have been spoon-fed for decades, but it's inventive and innovative. And, yes, it's thoroughly satisfying. TAXI NO. 9211 tells the story of two men, both prey to anger, who get involved in an accident that brings out their worst qualities. They belong to the opposite ends of the social scale. Raghav Shastri [Nana Patekar] is a short tempered cynic. He has changed 23 jobs in the last fifteen years. He is an insurance salesman to the world, but in reality, he's a caustic, instinctively witty cabbie who needs Rs. 30,000 to pay the grocery guy, the taxi owner, his kid's school fees. Jai Mittal [John Abraham], the equally acidic heir to a resourceful business family [Aakash Khurana], has to go to court and prove his claim for Rs. 300 crores. Today is his last chance. A trusted aide [Shivaji Satam] of his father is the sole beneficiary. Naturally, Jai challenges the will in the court of law. There was no reason for Raghav and Jai to meet. But circumstances bring them together. Now Raghav has something that Jai desperately needs [the key to the locker, where the will is safely kept] and Raghav is in no mood to return it. What follows is a cat and mouse game of one-upmanship, as Raghav and Jai go to increasingly unfriendly lengths to gain the upper hand. Borrowing the basic premise from director Roger Michell's Hollywood flick CHANGING LANES [2002; Ben Affleck, Samuel L. Jackson], TAXI NO. 9211 defies the stereotype all the way. Not only does it boast of an innovative storyline [for the Indian viewers], even the storytelling is equally original. Right from the characters depicted on the screen to the hand-held camera movements to life-like performances, you need to watch TAXI NO. 9211 with no pre-conceived notions. One of the prime reasons why TAXI NO. 9211 works is because of the unpredictable nature of the story. Right from the start, when an irritating John forces Nana to drive the vehicle faster, to the chaos that ensues, the first half of the enterprise keeps you spellbound. A number of sequences stand out in the first hour: Nana's characterization. The conversation between Nana and John in the taxi. John revealing Nana's true identity [he's a cabbie, not an insurance agent] to his wife Sonali Kulkarni. Sequence between Sonali and Nana at the railway station, which leads to Nana bashing up a few miscreants. The accident at the highway, when John's car loses balance and the speeding cars almost kill him. The post-interval portions are equally riveting. The car chase between Nana and Sameera and later, between Nana and John, till a train bangs into Nana's car, is hair-raising. Ditto for the birthday sequence, which turns out to be the most memorable sequence of the enterprise. Even the end, when John tears the will on Shivaji Satam's face, is perf |
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Vote This Movie: 2 votes 
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| 'Taxi Number 9211' Caste & Crew |
| Actors |
| - John Abraham |
| - Nana Patekar |
| Actresses |
| No actresses found... |
| Singers |
| - Adnan Sami |
| 'Taxi Number 9211' News |
| No news found... |
| 'Taxi Number 9211' Songs |
| No songs found... |
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