Call it metallic mobility of a thrill genre, or sheer breath-taking magic visual splendour, Rakesh Roshan's upcoming blockbuster KRRISH combines a rare spectacle of special effects wizardry and global-level action-packed fantasy, with Indian emotions of unfathomable intensity.
The spectacular thrills of KRRISH, credited to action director Tony Ching Siu of Hong Kong and Bollywood's own Sham Kaushal, and synergised visual effects supervised by Hollywood maestros Mark Kolbe and Craig Mumma, enhance the content value of the core narrative to a maximized level, that is both unprecedented in Indian cinema, and in league with the best techno-overtures of International oeuvres.
KRRISH begins on a sombre note, taking off from where Roshan's KOI MIL GAYA had drawn curtains. And before you could bat an eyelid, the fashionably mounted thrilling flourishes begin to invade the enormous canvas, as smoothly as the lucid narrative shifts subtle gears from soft romance to a nail-biting visual enhancement. The calculation of this massive snowballing metamorphosis of cinematic wonder, was made before writer-producer-director Rakesh Roshan went on the shooting floor. Every detail was looked into, perused and pored several rigorous times over, altered and improvised.
Rakesh Roshan believes only in the best. He had a content that was formidably impeccable, a true blueprint of cinema for both Indian and International audience, and more significantly, the family segment. Explains Roshan, There's no bloodshed or fisticuffs. The action is on a higher, conceptual plain of visual thrills. They have a multi-dimensional effect when projected on screen and I am sure it will be a feast for audiences of all ages and their inherent tastes.
Roshan sought the services of the renowned Tony Ching Sui of Hong Kong to enhance and co-ordinate the visually emancipating sequences with Bollywood's reputed action master Sham Kaushal. The result was overpowering and overwhelming. Without deliberate design, the thrill sequences of KRRISH turned out as an awesome experience. Elaborates the self-effacing, reticent film-maker Roshan, Tony Ching Siu is not the type who would accept assignments, without checking out on the thematic content and credentials of the maker. He saw my work as director in KOIMIL GAYA, and agreed to do a story-board. Hence, before finalizing locales, characters and size or volume of the thrill-point, we made sure how they would look on screen. Only then did we proceed with the finalisation of the shoot.
Every minute detail was worked out, as is the norm with FilmKraft (the company producing KRRISH) with Rakesh Roshan himself working the mathematics. Roshan leaves nothing to chance. On the contrary, he makes provisions and allowances for possible, unforeseen hurdles. That's perhaps, the magic formula for his success and reputation as one of the most organized producers, on these shores. Reveals Roshan, There was a crucial shot to be filmed in Manali, for which Tony wanted a 250-ft long crane. The size wasn't a problem, but transporting it through by-lanes and small streets encompassing narrow paths and short bridges, certainly was. Eventually, we worked out a contingency plan to make it practically possible.
