Coal Mafia is the oldest mafia in existence and our film-makers have re- discovered the thrilling premise of coal-mines after a long gap post KALA PATTHAR (1979) and KALKA(1983). However this time with films like GANGS OF WASSEYPUR (2013), GUNDEY(2014) and now KOYELAANCHAL, the focus is not actually on the coal mines and its workers but on the illegal owners which rule the region without caring about any police or government rule.
Beginning with some 'heard before' kind of explanations of how coal is looted from these mines openly, the film does come up with some better visuals of the subject as compared to the two recent projects mentioned above. Further with a fine sequence of a child washing his blood strained football and kicking it again, it indicates something interesting coming up next having some great clashes between the two veterans Vinod Khanna and Suniel Shetty. But unfortunately the script goes on a completely weird and unexpected path in the mid-way, revolving around an accidentally kidnapped infant and a rude-tough killer hiding the child in his house for a week or so. The conflict track between the local mafia and an honest collector takes a back seat for a while and only returns towards the end with more unrequired angles pulling the film in many contrasting undefined directions.
Lacking a solid storyline and a purposeful script, KOYELAANCHAL keeps struggling to make a decent impact somehow through its various characters. But due to an over excessive effort in almost everything ranging from a loud background score, weak action sequences, shivering camera movements, weird inserts (like the one with the naked lady) to an indecisive & unimpressive direction, the actual film gets lost somewhere in its own progression, unable to make a comeback right till the climax. The lead actors try hard to make it as tense as possible but the hamming performances of the supporting cast never let them achieve the desired result.
In short, the vision before commencing the shoot might have been of making a hard hitting explosive film shot on actual locations with two veteran actors. But the end product manages to interpret only 10-15% of that projected vision and thus can only be given marks for some well shot coal mine sequences in the beginning, few good scenes of clashes and the effort made by the team shooting on the tough locations. In fact, minus the sub-plot involving the infant, the film could have become an entirely different project to say it all.
