Kurbaan manages to achieve the latter.

In this neatly packaged, nail-biting drama, writer/director Rensil D’Silva takes the audience on a fast paced journey from the colleges of Delhi to the gripping climax in the subway of New York. Yes, the story is once again set on terrorism, but the treatment of the storyline, the impressive cinematography, the steady pace, and some stunning acting make this movie one of the best we’ve seen in 2009.

Sad to think then, that the film got most of its publicity for the rumoured steamy scenes between the protagonists – real life couple Saif Ali Khan and Kareena Kapoor. And sure, no one can deny that the two have immense chemistry together, but this reviewer found the scenes a lot more sensual than sleazy. Additionally, this isn’t the first provocative scene we’ve seen from Bollywood, (remember Jism and Murder), but it is possibly the most tasteful scene yet, which although a bit clichéd fits easily into the storyline.

And what a storyline it is. Rensil’s writing is crisp and to the point, and the film moves along at a frenzied pace – drawing the viewers in deeper and deeper through numerous plot twists, till the explosive end (pun intended). Complementing the story line and tone is the film’s superb dialogues, written by Anurag Kashyap and Niranjan Iyengar, which create an immense impact in many scenes.

The film opens at a university in Delhi, where Avantika (Kareena) teaches a course, while on short leave from her permanent job as a teacher in New York. Enter the charming and cocky Ehsaan Khan (Saif), an Islamic scholar, and sparks fly. Soon the couple are completely besotted and life is one big song – albeit thankfully not the cheesy kind that one normally associates with Hindi films.

The first plot twist comes in the form of a letter, asking for Avantika to return back to her job in New York. Ehsaan, being the supportive and understanding man, offers to uproot himself and join her in the States. The couple get married (despite some resistance from her father) and off they go!

It is an immense testament to the director’s talents, since all this happens at a swift pace – within the first 15 minutes of the movie. No time is wasted on unnecessary song and dance sequences, or a long drawn out courting between the couple.

The couple quickly buy a beautiful house in an Indian neighbourhood and start to settle down quite happily. Then their Muslim neighbours enter the picture, and from that point onwards, the plot takes a number of nail biting turns. Soon Avantika’s perfect world is turned topsy-turvy as she realises her role as a pawn in Ehsaan’s big plans. Then, together with the help of undercover journalist Riyaaz (Vivek Oberoi), she must find a way to save herself, and thousands of ordinary civilians from an insidious terrorist plot.

Yes I know the story sounds just a little bit – been there, done that – but you haven’t seen it quite like this. There’s never a dull moment in the movie. Nothing seems dragged or unnecessary, and nothing is certain. The unconventional twists and turns – especially towards the end keeps you at the edge of your seat, and after awhile, you give up trying to guess what happens next. Sure, there are a few plot holes and a few inconsistencies, but you tend to overlook these most of the time.

The performance from each actor completely surpasses expectations. Saif Ali Khan’s Ehsaan is not so much a bad soul, but a tortured, vengeful one – a part that Khan underplays beautifully and with much conviction. Although you wish his character had slightly more defined darker moments to better etch out his violent side. Kareena on the other hand, portrays the confusion, love and fear of Avantika to perfection. At times flirty, at times desperately lost, Kareena shifts from emotion to emotion effortlessly. Vivek Oberoi too has really come into his own with this movie, and this could possibly be a turning point in his career. He effortlessly pulls of the “Yankee” accent, while displaying great restraint in portraying Riyaaz’s grief and anger as he attempts to join & thereby expose the sleeper cell.

Equally holding their own against the protagonists are veterans Om Puri, as the leader of the sleeper cell, and Kirron Kher, his wife. Kirron Kher is as always a delight to watch, and is far removed from her usual “dramatic mother” role. Her portrayal of an Afghani woman who has lost most of her family due to American bombings is poignant and sincere, proving once again that she is possibly Bollywood’s most powerful actress. Diya Mirza is convincing and credible in her brief appearance as Riyaaz’s fiancée.

Where Kurbaan works most is in the treatment of the film – it is probably the most balanced movie on this much portrayed subject. While it provides an understanding of the mind of terrorists, it in no way tries to excuse this behaviour. In this way, the film does not attempt to preach or deliver a moral message; instead it delves into the psyche of a terrorist, and the humanisation of a hate filled mind. This is what makes the film a powerful and thought provoking glance in to what is a definite problem in today’s world.

For a film of this kind of sensitivity to come out of the Dharma Productions banner – which is typically renowned for their masala Bollywood theatrics – showcases Karan Johar’s ability to provide cinemagoers with intelligent cinema. Kurbaan is a definite must watch for anyone – including those that typically stay away from your usual Bollywood blockbusters – there’s nothing too typical about this movie. Well worth the money you’d spend on a ticket to the cinemas.