Charas – on Saturday, 7th June, 2012 at 09.30 P.M on DD National Channel
The story starts with a Botany student, wandering in the hills, who gets abducted by the charas Don’s (Irfan Khan) men, and is kept forcefully there for his work. A British-Indo officer (Jimmy Shergill) Dev Anand comes to seek him and in turn comes to know about the charas racket. Tiwari, a politician by work but a major moderator and the only person who has access to the policeman’s number, has the police in his pocket for all his illegal business. Ashraf, an undercover agent of the crime branch, appears to save Dev’s bags from goons and becomes his friend. He is given the job of scaring and putting pressure on him (Dev) to leave the country. Dev, not being aware that his reality has been disclosed, also manages to get a witness against the policeman, which he records. Piya, a hippie and an undercover journalist, sleeps with Dev and escapes with the tapes. She gets the story printed in a magazine which creates chaos in the mafia world. the Italian mafia reacts to it and wants the policeman killed. Tiwari in turn sends 3 Afghanees to the policeman. They mark their way during their stay with the policeman. On the other side, Dev is accused of being an agent by the British Govt.He, in turn, to prove his innocence, collects evidence and takes on a mission to reach the policeman. Ashraf is being followed and watched and in one of the chases finds his lost ex-colleague Sidd. He decides to meet his mentor who is none other than D.C.P. Randhir (who left the force, in frustration and anger against the Govt. diplomacy and politics). Ashraf and Dev Anand join hands in the mission. Naina shows them the way forcefully. The Afghanees attack the policeman and Ashraf and Dev fight them along with the policeman. The policeman takes charge and Piya meets Devand so Ashraf meets Naina and Sam is found by Dev. Tiwari is shown being arrested.
Anees Bazmee fails to add freshness in a plot which he already showcased in NO ENTRY. All that you get here is busty women, copious songs and humdrum sequences. It also propagates the ‘Men are dogs’ and ‘Women are dumb’ philosophies. While nothing significant happens in the first half, the narrative gets slightly better post the interval. But just when you feel the end credits are about to roll, it starts dragging with Raj and Sanjana’s spoilt relationship in focus. That’s not all. It’s followed by a tacky and predictable flashback story of Akshay Kumar.