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So we get the disgraced hero, the torn lover – what we don’t get is the cricketer. We experience a mix of “What did Azhar see in Sangeeta?” and “Whatever did Imtiaz Ali see in Nargis Fakhri?” But the Azhar-Sangeeta scenes are dreadful. She knows, but she doesn’t want to hear it from him, and she keeps making excuses that she’s busy. Or maybe it does, but at least she kept saying no until she said yes.) The Azhar-Naureen scenes have an old-fashioned sweetness to them, and there’s a good moment where he tries to come clean to her about Sangeeta. (The film is careful not to label Sangeeta a home-wrecker.
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Another part of the film wants to chronicle Azhar’s loves, Naureen (Prachi Desai) and Sangeeta (Nargis Fakhri). And on the opposite team, we have Lara Dutta, click-clacking in high heels, dressed in expensive suits, an eyebrow perpetually raised as though she were auditioning for the lead role in The Dowager Countess of Downton Abbey: The Early Years. Azhar is the underdog, so he gets the underdog lawyer, a bumbling man we know only as Reddy (Kunaal Roy Kapur, using his natural klutziness well). In true masala-film fashion, this isn’t Azhar versus the rest of India, but David versus Goliath. A part of the film wants to be a transcript of the court case that dragged on well into the Dhoni era. I’ve seen propaganda movies with more shades of grey.Īzhar tries to do too much. We’re led to think Azhar is being tempted, that this wasn’t a sport being played at Eden Gardens so much as the Garden of Eden, and then we’re told that we’re fools for even doubting him, that it wasn’t an apple but a cork ball that he hoisted for a six towards delirious crowds waving the tricolour. (When a disgraced Azhar is reminded that he’s still rich, he replies, “ Jinke paas dost kam hote, woh ameer nahin hote.”) What got me was the cheating.
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The writer, after all, is Rajat Aroraa, who really knows how to punch up a situation with whistle-worthy oratory. I didn’t mind so much the reinvention of a mild-mannered cricketer as a masala-film hero. Azhar tells us that Azhar did take a gym bag stuffed with cash from a smarmy bookie (Rajesh Sharma, in great form), but only so that no other player would be tempted to take it. And there’s a phenomenal invention at the end that is both insulting and infuriating. He married one woman, fell in love with another, he was accused of match-fixing. It shows us only facts that are already public knowledge. It just wants to get into his good books.
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Did he do it? If so, why? (And if not, why was he framed?) But Azhar isn’t interested in getting into Azhar’s head. It’s the innocence that was lost after Mohammad Azharuddin was accused of… Let’s hear it from Azhar himself, who says, “ Mujhpe ilzaam hai ki maine apne mulk ko bech diya.” Things were never the same again, not for him, and not for Indian cricket.Īny film tackling the story of the cricketer – even one as timid as this one, which opens with a disclaimer as long as the Constitution of India – must field two questions. It isn’t just the numerous ads – at the bottom of the screen, or waiting in the wings to take over at the first sign of a break. It was always a joy to see a batsman from the other team trudge back to the pavilion, but the pleasure was multiplied a million-fold when the batsman was “Javed.” I think I am not alone in saying that cricket doesn’t hold that kind of fascination anymore. He hoists the next ball for what looks like another encounter with the rope, when a hand shoots up and wraps its fingers around it. He whacks a ball to the boundary and smirks that “Javed” smirk. The film doesn’t use last names, so we’re watching “Javed” bat. There’s a shot in Tony D’Souza’s Azhar guaranteed to give gooseflesh to viewers of a certain age.