Director: Rajeev Walia
Cast: Arbaaz Khan, Sunny Leone, Salil Ankola, Sudha Chandran
The first thing (and probably the only thing) that strikes you about Rajeev Walia’s Tera Intezaar is its ability with time travel. Yes, people use paintings as portals to a netherworld, but the casting in this non-film gives some exercise to your forehead. It makes you wonder about the era you are living in. There is Arbaaz Khan in lead role. There is a heavily tanned, mildly balding Salil Ankola.
There is Arya Babbar and then Sudha Chandran as a psychic. A psychic with an inclination to clear road rage issues.
When she and Rounak (Sunny Leone) are driving to the hospital and time is of the essence (there are no directorial attempts to establish this), they get stuck in traffic caused by a minor accident.
The psychic steps out, walks all the way to the front and yells “peace out!” to the participants causing the kerfuffle. The story can move along.
At some point, likely ten or fifteen minutes into the movie, you start to wonder why this movie exists.
Is it someone’s tax write-off? Did someone put a gun to the head and say, here are 6-7 songs and you must use them in a single film? The beginning is a masterpiece. Nobody knows what’s going on.
Rounak wakes up in a daze, reverses her car and drives out of a house. A gang of four walk in as soon as she leaves and in the next second, they are in the middle of the ocean.
They don’t know why. Neither do we. Rounak is still reversing her car, but somewhere else. At one instance, she sees someone hanging from a rope, presumably having committed suicide, but she’s so woke that she looks for a parking spot. And therefore, reverses her car again. Inception was simpler. I began to worry about people walking into the hall 10 minutes late.
They were going to have such a hard time understanding what’s going on. Tera Intezaar also shows photographs and tells us that they are paintings. But why is that a surprise? They just used a camera, threw in some money, and called it a movie.