Go Goa Gone

Directed by: Raj Nidimoru and Krishna D.K.

Starring: Saif Ali Khan, Kunak Khemu, Vir Das, Anand Tiwari and Puja Gupta

All images courtesy of: http://www.glamsham.com

Go Goa Gone

When I first heard that Hindi cinema was going to be taking on zombies, I did feel a little apprehensive – as a fan of The Walking Dead, a US TV show that has taken zombies to new heights in the mainstream, whatever follows after has to be pretty damn good to impress. Even without that point of reference, Go Goa Gone has the massive task of explaining and repackaging zombies for a Hindi speaking audience before it can really get going which is a tall order for a well known concept, never mind an unfamiliar one.

Puja Gupta

But GGG rises to the challenge admirably and what we have is a foul mouthed, very witty and visually impressive entertainer that doesn’t outstay its welcome. From mocking how zombies reached India (“globalisation“) to making fun of the film itself (zombies in daylight and who will die first), GGG is sassy and smart and fully expects its audience to keep up but what I really liked was how the script manages itself so that the film works on lots of different levels without ever straying from its main purpose which is to entertain and not get bogged down with unnecessary baggage.

Saif Ali Khan

Performance wise, the cast are very good – Das and Khemu share a fantastic chemistry but are also just as strong individually, making Luv and Hardik feel like three dimensional and likeable characters inspite of being drug addicted alcoholic womanisers. Tiwari sometimes steals the show as Bunny, the uptight manager whilst Puja Gupta makes sure she stands out inspite of a sketchy role. But it is Khan who has the most fun as Boris, the blonde Russian who remains enigmatic and aloof yet still makes us laugh. I thought Khan quite wisely underplayed the character which works in GGG’s favour and handles the action and comedy with equal aplomb.

Vir Das, Kunal Khemu, Anand Tiwari

With cheeky asides and a justified liberal helping of the F-bomb throughout, GGG is that rare film that uses its audaciousness in an intelligent way – that is to say, though the film questions its own morals, it never judges or tries to force an opinion on the viewer. In a similar vein to Delhi Belly, GGG may not explicitly be intending to change things up but will certainly find itself positioned as a significant point in the ladder of change. More importantly, in a year full of remakes, franchises and little in the way of inspiration, GGG is a breath of fresh air and definitely worth a watch. Recommended.

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