Anil's 'Climax' tells the story of Supriya (Sana Khan), a starlet who shot to national fame with her dare bare roles in South Indian films. RK (Suresh Krishna) wins over her heart, and when she learns that his son Rahul is crazily in love with her, Supriya is driven almost insane.
It totally escapes me, why a film is publicized as a biopic, if they have no intention whatsoever to claim that the movie is based on the life of a particular individual. The movie starts off with the statutory warning that it bears no resemblance to anyone living or dead, thereby asserting that it is will not be a 'Dirty Picture'.
On second thoughts, even if they did, it would have been impossible to believe that this was a Silk story. The metamorphosis of the actress from a bashful housemaid to a seductive diva is all there, but somehow it doesn't all ring a bell. I am not sure if the real Silk story was half as filmi, or if the agony that she must have gone through half as mild.
This film keeps its focus fixed on merely two aspects of Supriya's life - her material assets and her love for RK. Bereft of both of these, she finds herself ruined beyond repair, and nothing else - her family, friends, or the lack of it - is dwelt upon.
The form of narrative that 'Climax' adopts puts a director (Irshad) on the forefront, who claims to have known Supriya from close quarters. It's he, who tells us her story, and he does admit that he is clueless about what happened to her eventually. The suggestion that she had no reason to commit suicide is put forward.
Here the film changes gear, and opts for a clever move, and entrusts a script writer (within the movie) to come up with a smashing, unforeseen climax to her tale, one that would leave the viewers aghast. He does something of the sort, but it's another matter altogether that it's neither startling nor astonishing. In fact, it's the exact climax that you expect the film to arrive at.
What indeed leaves you aghast is the script of 'Climax' which makes you wonder what has gone wrong. None of the scenes in it are convincing, and not even one manages to rake up an iota of sympathy in your heart for the actress. The art direction is equally appalling with mansions and gyms and Jacuzzis of the 21st century making their way into the late eighties.
Sana Khan looks pretty as a wax doll, but that's about how far it goes when it comes to her performance. At times wooden and at times dramatized, it's a mixture of an act that is more about pouting and prancing than emoting. Suresh Krishna is good, and as RK, he does manage to instill some believability into the character of the millionaire.
The camera though gets real busy moving all over Sana Khan, and in one song after the other, there is plenty of skin on show. What is ironic is that with all the technology and what not that we are blessed with today, Supriya isn't even remotely comparable to Silk, when it comes to pure sensuousness.
What did strike me is the one statement that changes Supriya's life; that this is showbiz, and that when the glamour and glitz have eluded her, she would find herself all alone in the world. True! As 'Climax' moved on to Supriya's sordid end, the greater chunk of viewers had emptied their seats. After all, there are very few takers around these days for tears.