The Taxi Number 9211 2 Mp4 Movie Download Free
Harriet Wehrenberg
Story copied from hollywood movie Changing Lanes (2002).Taxi No. 9 2 11 focuses on Raghav Shastri (Nana Patekar), a cab driver in Mumbai who lies to his wife Sunita (Sonali Kulkarni) his job, pretending to be an insurance salesman. One day, he gives Jai Mittal (John Abraham), the spoilt son of a late businessman, a ride. Jai is fighting for ownership rights of his late father's estate. The cab gets into an accident with Jai escaping as he's in hurry. Jai loses the key to the vault containing his father's will in the back of Raghav's taxi.
Jai confronts Arjun Bajaj (Shivaji Satam), the friend and custodian of the property of Jai's father, whom he tells that he has realised the value of life and does not want his father's property and takes a leave. Just as he drives out, his car collides with another car driven by a Woman (Priyanka Chopra), though initially both seem to be angry at each, later Jai apologizes and asks for her number, promising to pay for damages. The movie ends as both smile at each other and drive away; indicating a new romantic beginning.
I was born in India and then moved abroad with my Mom in US and didn't follow bollywood movies so much for past 2 decades. I watched Taxi No. 9211 on Amazon Prime last night and it was so good. I watched the original Changing Lanes starring Ben Affleck and Samuel L. Jackson and it's not bad or anything but Taxi No. 9211 has such solid performance by John Abraham and Nana Patekar and filled with witty and clever dialogues and overall feels more intense and engaging film. It was so emotional at times, I was bawling my eyes out.
Taxi Number 9211 is a Bollywood film that released on February 2006 and was directed by Milan Luthria. It stars John Abraham and Nana Patekar in lead roles. The movie also stars Sameera Reddy, Sonali Kulkarni, Shivaji Satam and Kurush Deboo in supporting roles. The film's background score and soundtrack were composed by new age music composing duo, Vishal Dadlani and Shekhar Ravjiani, also known as Vishal-Shekhar. The soundtrack for the movie was released on 28 January 2006.
Though Tamil Nadu movie buffs have almost forgotten the fact, the filmdom obviously remembers that 4777 is the car number of late thespian chief minister M.G. Ramachandran, who was popularly known as MGR.
Taxi Number 9211 cast list, listed alphabetically with photos when available. This list of Taxi Number 9211 actors includes any Taxi Number 9211 actresses and all other actors from the film. You can view additional information about each Taxi Number 9211 actor on this list, such as when and where they were born. To find out more about a particular actor or actress, click on their name and you'll be taken to page with even more details about their acting career. The cast members of Taxi Number 9211 have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.
With a title like TAXI NO. 9211, you expect a wacky film. Wacky it is, but there's more to this film than an unconventional, off the wall theme. The film borrows heavily from life, life in Mumbai in particular.
TAXI NO. 9211 is more of a Mumbaiya film. Set and shot in the metropolis, the film depicts a day in the life of two individuals whose paths collide on a fateful morning and life is never the same again. Though the identification for a Mumbai viewer may be tremendous, it nevertheless is a film that makes a bold statement about societal pressures and human conditions. And how external influences can compel an otherwise decent human being to do things that are despicable, shameful and disgraceful.
TAXI NO. 9211 may come across as an experiment in terms of material, but it signifies the changing face of Bollywood. Again, the material may seem soaked in Mumbai, but the soul is very Indian. The father-son relationship, personal equations that fluctuate with fluctuating bank balances/fortunes and the frustrations of the common man... the premise is so real.
In a nutshell, TAXI NO. 9211 may not boast of that archetypal masala Indian moviegoers have been spoon-fed for decades, but it's inventive and innovative. And, yes, it's thoroughly satisfying.
Raghav Shastri [Nana Patekar] is a short tempered cynic. He has changed 23 jobs in the last fifteen years. He is an insurance salesman to the world, but in reality, he's a caustic, instinctively witty cabbie who needs Rs. 30,000 to pay the grocery guy, the taxi owner, his kid's school fees.
Borrowing the basic premise from director Roger Michell's Hollywood flick CHANGING LANES [2002; Ben Affleck, Samuel L. Jackson], TAXI NO. 9211 defies the stereotype all the way. Not only does it boast of an innovative storyline [for the Indian viewers], even the storytelling is equally original. Right from the characters depicted on the screen to the hand-held camera movements to life-like performances, you need to watch TAXI NO. 9211 with no pre-conceived notions.
One of the prime reasons why TAXI NO. 9211 works is because of the unpredictable nature of the story. Right from the start, when an irritating John forces Nana to drive the vehicle faster, to the chaos that ensues, the first half of the enterprise keeps you spellbound.
TAXI NO. 9211 is director Milan Luthria's finest effort so far. The choice of the subject as well as the razor-sharp execution keeps you on tenterhooks all the while. Besides, Luthria presents the two diametrically opposite characters with utmost conviction. Rajat Arroraa's script is almost flawless. Of course, the basic nature of the theme would appeal more to the Mumbai viewer mainly, but the overall writing is foolproof.
On the whole, TAXI NO. 9211 is akin to a whiff of fresh air, a refreshing change from the mundane masala entertainers that you keep witnessing in rapid succession. At the box-office, its business at metros will be bountiful, with the business at multiplexes contributing enormously to the booty. Not surprisingly, its prospects in Mumbai will be the best due to the strong identification. Also, with no major release in sight for the next few weeks, the taxi's ride will be smooth, attracting hordes of passengers in the process. Strongly recommended!
Scene from a film Taxi No. 9211 Movie: TAXI NO. 9211
Director: Milan Luthria
Starring: Nana Patekar, John Abraham, Sonali Kulkarni, Sameera Reddy"Seene mein jalan, aankhon mein toofan sa kyun hain? Is shehar mein har shakhs pareshan sa kyun hain," asked a harried Mumbai taxi driver in Muzzafar Ali's Gaman. Twenty-eight years later, the cabbie has no time for such angst.
The taxi is his beloved mate and he names her heroine. They go about their way merrily, sometimes accosted by unpleasant characters, sometimes by friendly souls. Dev spots a lonely lady at a bus stop, hailing his taxi. She, however, prefers to hop into a car, leaving the taxi driver cursing his fate. When he runs into her again, she remains nameless, for she indulges in the oldest profession of the world, Dev develops a soft corner for her. Even as he looks to more frequent meetings with her, Dev encounters a sweet singer, aspiring to make it big in the city of dreams.
What I heard, what came through, was the ambivalence experienced in the midst of change. A change to taxi driving, a city changing around him. Passengers picked the new vehicles to ride in. No one wants to ride in a fiat anymore. But as we spoke about the fiats, they became the desired, they have room for legs, room for luggage. Poised on the point of change, teetering between what was and what is becoming, what will be lost and what is being gained, Mahadev Singh spoke from both sides. We can contain these feelings, the simultaneous good and the simultaneous bad.
I think Mahadev Singh is right about the sealink. Rs30 is just about the right price where people would take it instead of inching along and jockeying for position amidst the pollution and honking in the Cadell Rd/LJ Rd traffic. Rs50 is just over that amount that most people will pay. People who have cars that is, people who are used to paying for petrol. I have only taken the sealink in taxis to augment this blog with more photos and videos and scenes of Bombay from out in the water, the city from a distance.
More and more new kaali-peeli taxis catch the eye, moving through the montage of Bombay streets. The kaali-peeli blends into the known but the shape, the size, that difference, registers. The cityscape will slowly change as each month, each year, a few more new taxis appear in small increments within the total. Visually measuring the difference is like visually measuring the growth of a tree, until one day you realise the tree is big and there are no more fiats on the road. But the atyachar continues for the drivers. (57 sec)
The litte beeps you hear in the podcast? Its the electronic meter. Each new vehicle has an electronic meter that shows the actual amount you have to pay. No more 13x multipliers. No more fare cards. No more reaching out the passenger side window to rotate the meter down, or up. And no more photos of decorated meters. Plus an added feature. In the front of the taxi, facing the street is will be a red light that shines if the taxi is available, the virtual meter up. (or is it the other way?)
10 episodes. 10 stories. This story started one evening coming out of Bombay Hospital visiting a friend from Ujjain who was here for his second operation on a broken leg. There was a line of cabs and for some reason I kept walking to the one far down the road. It was Sagir Bhai. He is full of stories and full of a sense of belonging to this city. We rode through the night and I heard his story as a young 16 year old who just failed his 10th Board Exams, running away from home, to Bombay, without even a change of clothes or an address. Just the wisp of knowledge that between 7am and 8am at a place called Maratha Mandir, he might find his sagaawalas. He found them, and like Sevalal, became a tailor and a sampler at Saat-Raasta and then a taxi driver. And now 24 years after getting off the 66 bus from Dadar Terminus at the petrol pump across from Bombay Central, he speaks of Raj Thackeray, of 1992, of 26 July, of film shoots, of his life then and now and to come.
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