Akshaye Khanna stars as Raj Goyal , a famous defence lawyer who volunteers his services to Tarang Bharadwaj (Ajay Devgan) a musician charged with the murder of a music magnate Ashwin Mehta (Vijayendra Ghatge). Tarang's case becomes complicated when a psychiatrist (Seema Biswas) concludes that he suffers from a split personality disorder. Goyel also uncovers the evidence that the music honcho attempted to molest Tarang’s protege Sargam (Urmila Matondkar).
It turns out that Tarang is in love with childhood friend Sargam and dreams of marrying her .Sargam, meanwhile has become a singing sensation. She vies for the affection of compulsive bachelor Raj and therein lies the triangle.
The twists in the tale are many. Bazmee structures the film through numerous visual and narrative circles and twists, beginning with the opening title sequence. He also breaks tradition with a mid-movie revelation that transforms the film from a whodunit to a story of obsession. Further ducking convention, the director allows the ending to hang in uncertainty.

With a story idea snitched from Gregory Hoblit’s Primary Fear and later moves into Cape Fear and Darr territory, the shift from thriller to romance goes fatally wrong. The madness gets out of the hand especially in the last half hour of the movie which is too laboured .The screenplay careens out of control, too many songs stymie the pace. As a lawyer caught in an elaborate web of deceit, Akshaye Khanna (despite his strange hair piece) shines through once more and his outburst in the jail sequence is riveting. Urmila Matondkar is also effectively restrained and Ajay Devgan reprising Edward Norton’s turn in Primal Fear delivers yet again, revealing a tortured psyche under his nice-guy surface. The scene in which he turns from a good guy to one with ice in his veins is chilling. On the whole the movie is a visual thriller and a must-see.

Rasika Iyer