Anil Kapoor in a still from the film. (courtesy: YouTube ) A gender-reversed, Indian mythology-inspired adaptation of the jailbreak thriller The Next Three Days (2010), which was in turn a remake of the French film Pour Elle (Anything for Her, 2008), Savi huffs and puffs its way through the tale of a homemaker who fights tooth and nail to get her murder convict-husband out of a high-security Liverpool prison. In terms of its technical attributes, Savi lacks nothing.
Cinematographer Chinmay Salaskar and editor Shan Mohammed lend the film sustained gloss and pace. Director Abhinay Deo, working with an adapted screenplay by Parveez Shaikh and Aseem Arora, does more than his bit and adds a shiny veneer to the film. It is at the plot level that Savi is found wanting.
It is undone by a slew of cliches. All the polish that is visible in Savi is strictly on the surface. The flourish and sparkle inherent in the making cannot offset the vacuity at the film's core.
As the story of an ordinary woman determined to give her husband a new lease of life because she believes he is a victim of a miscarriage of justice - the film is a modern-day take on the myth of Savitri and Satyavan - Savi fails to deliver a punch or two that can catch the audience by surprise. The story unfolds at an even pace but is never able break away from a monotonous loop. The performances by Divya Khossla, who has a role that allows her ample room to demonstrate her emotive prowess, and Harshvardhan Rane, saddled wit.
