Subhash Ghai’s Black & White released!!!

Subhash Ghai, the director, best known for multicolored, vociferous 70mm entertainment, has attempted in Black & White to make quieter, more cherished cinema.
The story of Black & White revolves around Numer, a terrorist who comes from Afghanistan to India, to blow himself up at the Red Fort on 15 August. But the fortnight he spends in Chandni Chowk changes his vision. He realizes that the world is far too compound and crooked for unsophisticated divisions of wickedness and good. What works for Black and White is the truthfulness of objective. The showman is tackling here with big concerns like religion, terrorism, what is the reason behind terrorism and terrorists and what is the solution to decades of extreme dislike, political exploitation, violence and disaster. He attempts to tell all sides of the story and creates some legitimately affecting moments between The Killer and his adopted family.
There is a wonderfully written and enacted aging poet, who when nagged by his wife, remarks that when there isn’t any peace in the house, how can there be peace in the nation. Debutant actor Anurag Sinha has the complicated task of impelling the sequence of events but he has a satisfactorily rumbling concentration and the gravities to pull it off. What lets Ghai down is his screenplay. Ghai is a master of broad stroke cinema but a subject this complex requires suggestion and more gradation writing. In Black and White, the plotting is much too simplistic. There are dodges in logic and needless deviations like a love angle and songs, which only loosen the swiftness. The characterization is also rough—some characters are engraved out but most are too generic to be effectual. Eventually then, Black and White works intermittently. It is a well-meaning but faulty film.