Arshad Warsi

Three frustrated husbands seek freedom from their dull marriages. A wild idea promises escape and excitement. But what follows is anything but expected.

Inspector Bhagwat gets transferred to a small town in UP, where he takes up the case of a missing girl. Meanwhile, Sameer is in love with Meera and plans to elope. How do their lives intersect? In 2009, the small town of Robertsganj in Uttar Pradesh is rattled by the disappearance of a local woman. Inspector Bhagwat, newly transferred, vows to find her within fifteen days, uncovering a web of deceit and trickery that suggests a serial offender may be at work. Meanwhile, Samir is pursuing Meera, plotting an elopement fueled by charm and persistence. Their seemingly separate lives start to intersect as Bhagwat investigates, leading him to suspect Samir despite evidence that is circumstantial at best. The story follows both the police procedural and romantic subplot in parallel, building tension around truth, trust, and deception. A sincere and dedicated police Inspector is given the task of investigating the disappearance of a young woman. As he examines the evidence and talks to witnesses he finds that there is a serial killer at large who appears to be responsible for not only this crime but some other cases too where women were missing. The inspector and his team work relentlessly to apprehend this criminal in order to get him an appropriate punishment. Will this team be successful in their mission ? Inspector Bhagwat is transferred to Robertsganj in 2009 and immediately faces pressure when a local woman goes missing. The woman's father pleads with him to find her, and Bhagwat, perhaps against his better judgment, promises results within 15 days. His investigation reveals that this isn't an isolated incident. Multiple women have disappeared from the area over recent months, all following a similar pattern. They were swept off their feet by a charming suitor who promised them love and a better life, convinced them to leave with him, and then vanished along with them. The parallel story-line follows Samir, a smooth-talking young man who pursues Meera with determined persistence. He's charming, attentive, and eventually breaks down her defenses. They fall in love, and Samir convinces Meera to elope with him, promising her a life away from her family's restrictions. Their romance plays out as a sweet, if conventional, love story until Bhagwat's investigation begins closing in. As Bhagwat pieces together witness statements and circumstantial evidence, he realizes the missing women were all victims of the same con artist. The man would romance them, gain their trust, convince them to elope, and then presumably kill them and dispose of their bodies. But here's where Bhagwat hits a wall: there are no bodies. Without physical evidence, he can't prove murder. He can't even definitively prove the women didn't simply run away of their own accord. Bhagwat's investigation eventually leads him to Samir. The description matches, the pattern fits, and everything about Samir's relationship with Meera mirrors the pattern of the previous disappearances. Bhagwat brings Samir in for questioning and subjects him to intense interrogation, including physical violence. Jitendra Kumar's performance in these scenes is crucial because the film keeps the audience guessing. Is Samir genuinely innocent and terrified, or is he a sociopath maintaining his composure under pressure? The frustration for Bhagwat is that he's morally certain of Samir's guilt but legally powerless. Every piece of evidence is circumstantial. There's no forensic proof linking Samir to any of the missing women. The women's families can't definitively identify him because he used different names and appearances in each case. Bhagwat tries everything, breaking protocol and even resorting to illegal methods to extract a confession, but Samir maintains his innocence throughout. The film reveals that Bhagwat is correct: Samir is indeed the perpetrator, a serial con artist who has been deceiving and presumably murdering women across the region. However, the script never shows us the bodies or provides definitive proof within the narrative framework. This is both the film's most interesting choice and its biggest problem. By maintaining ambiguity about what exactly Samir did with his victims and refusing to give Bhagwat the satisfaction of concrete evidence, the film creates a deeply unsatisfying conclusion. The mystery is essentially solved for the audience, we know Samir is guilty, but the narrative offers no catharsis. Bhagwat is left frustrated, unable to close his case properly. The 15-day deadline passes. The father of the missing woman gets no closure. Samir walks free, protected by the absence of physical evidence. The film ends on this note of institutional failure and personal defeat. The predictability mentioned in the source material stems from the fact that once the film establishes Samir as the suspect, there's nowhere else for the story to go. We're waiting for either a confession, the discovery of bodies, or some clever piece of detective work that ties everything together. Instead, we get none of those things. The film seems to be making a point about the limitations of the justice system and the difficulty of prosecuting cases without forensic evidence, but it doesn't explore these themes with enough depth to justify the anticlimactic ending. The title suggests this is meant to be the first chapter in a series, which raises questions about whether future installments will provide more resolution or if this is simply meant to establish Bhagwat as a character who will face similar frustrations across multiple cases. Either way, as a standalone film, it leaves too many threads dangling and too many expectations unmet. The strong setup and excellent performances can't quite compensate for a third act that feels like it's scrambling to justify its own existence. Correction: the film doesn't end as per the synopsis above. To maintain the suspense it will be left to the audience to witness.

A cat-and-mouse tale set in the Hindi heartland, where male friendships and rivalries unveil homoerotic tensions. Men on both sides of the law traverse arid lands, creating a sense of place where unexplored histories reside. Set in the ravines of central India, Ghamasaan tells the story of an uncompromising IPS officer, played by Pratik Gandhi, who is tasked with bringing order to a land torn between politics, law, and outlaw rule. His mission brings him into direct conflict with a charismatic and feared dacoit leader, portrayed by Arshad Warsi, whose authority among the marginalized blurs the lines between rebellion and crime. As the officer digs deeper, he finds himself entangled in the complex nexus of caste, politics, and survival that fuels the region's unrest. The battle between law and outlaw is not painted in black and white-both men carry conviction, both embody a kind of justice, and both are trapped in the inevitability of violence. What begins as a manhunt unfolds into a meditation on power, morality, and the human cost of conflict. The film culminates in a dust-choked confrontation where the ravines themselves seem to swallow ideals, leaving behind only the stark question of whether justice can ever truly prevail in such a fractured world. Tigmanshu Dhulia's Ghamasaan is a taut, immersive exploration of power, morality, and survival set against the rugged ravines of central India. At its core is the electrifying duel between an uncompromising IPS officer (Pratik Gandhi) and a charismatic, unpredictable dacoit leader (Arshad Warsi). Dhulia's direction is meticulous and controlled-he balances intense, high-stakes action with quiet, contemplative moments that reveal the ethical and political complexities of the story. Gandhi embodies steadfast resolve and moral tension, while Warsi brings layered menace and charisma, and the supporting cast adds subtle texture, making every interaction feel consequential. Visually, the film is dominated by Dev Agarwal's cinematography, which transforms the landscape into a character in its own right. Wide, expansive frames render the ravines epic yet oppressive, while interiors are sculpted with light and shadow to reflect the weight of each decision. The colour palette evolves with the narrative, moving from earthy realism to fiery ambers and reds, before culminating in dust-choked desaturation that mirrors the inevitability of conflict. Agarwal's deliberate camera movement-tracking long takes, lingering on silent confrontations-heightens tension and immerses the audience in both the immediacy and allegorical resonance of the story. The result is a film where direction, performance, and cinematography converge to create a cinematic experience that is as intellectually compelling as it is visually breathtaking-a modern dacoit saga that lingers long after the credits roll.

Two very different worlds, Bollywood and the UP Underworld, collide with each and rub shoulders to create a laugh riot. The film features Sunny Deol, Preity Zinta, Ameesha Patel, Arshad Warsi and Shreyas Talpade in pivotal roles.

A goon tries to win his wife back by making a movie on their love story.

The film is a political satire about two Indians who land in Karachi, Pakistan without their passports. However, they get trapped by the Taliban and desperately try to find a way to get back to India.

The four good-for- nothing jokers from Dhamaal are back again! They are still as stupid and useless as before. Hard work is a strict no no and the only work they have ever done in their lives is to lie down on their backsides and dream about a good life. And then suddenly they see their old arch enemy - the corrupt Inspector Kabir (Sanjay Dutt). But he is no longer a cop and instead of chasing crooks, he`s chasing money - driving a Merc and has a posh office and a lavish villa. The four madcaps are green with envy and decide that come what may, by hook or by crook they will share Kabir`s good fortune. And so they blackmail Kabir into making them his business partners. What they don`t know is that soon their dreams are going to turn into nightmares because Kabir has his own hidden agenda, only shared by his sultry wife Kamini (Mallika Sherawat) and lovely sister Kiya (Kangna Ranaut).And so starts a game of one- up- manship, with both sides having tricks up their sleeves and where sundry characters like bhai turned sadhu - Batabhai (Satish Kaushik) and King of Casinos Johnny Bonzola, turn up to make the foursome`s life miserable. And of course there`s a helluva lot of money at stake. There are also lots of twists and turns and a bellyful of laughs. But who will have the last laugh? Canny Kabir or our four loveable jokers?

Faltu is a story of coming of age of today`s youth. They don`t choose a different path but create one. The film is about a group of friends who are considered a total waste. However a turn in their life leads them to such a situation where fates of many more like them comes in their hands.

Krazzy 4 is a story of four crazy people surrounded by crazier people. Raja`s anger knows no bounds, he`ll hit out at the slightest provocation or even without. Intermittent explosive disorder is what the doctors call it. Dr Mukherjee is the perfect doc - and suffers from obsessive compulsive personality disorder. Schizophrenic Gangadhar lives in the past his mates are Nehru and Gandhi, Tilak and Patel! He`s so busy fighting for swaraj and freedom, he`s lost his sanity! Cute Dabboo is everybody`s pet. So what if he hasn`t spoken for years? So what if he`s frightened all the time? So what if he`s autistic? They are sure to set your brains on fire and help you laugh your guts out. A must watch!

It is a suspense thriller with ACP Rajveer (Ajay Devgan), the interpreter and Sehar (Ayesha Takia) as the only key to find the killer on a Sunday. It also includes Ball (Arshad Warsi) and his friend (Irrfan Khan) as the suspects in the murder mystery. In an attempt to solve this puzzle, Rajveer delves deeply into the murder mystery.

About the movie Four lazy slacker conmen buddies hear about a secret hidden treasure from a dying thief. Will they find it before the police seize it?

Ajay Kumar the newly appointed, honest SSP of Lucknow police cracks down on the nefarious cop-mafia nexus in Uttar Pradesh, but finds a cunning and ruthless adversary in Gajraj. At the tender age of 8 Ajay Kumar is traumatized with the death of his army officer dad, who kills himself with his service revolver as he was being accused of being a deserter, leaving a widowed Prabha to bring up Ajay on her own. Ajay grows up, studies, and successfully becomes an IPS officer with the title of SSP. Due to his honesty, he gets transferred to various states in India. At this new posting in Uttar Pradesh he comes to terms with criminal don and ruthless killer Gajraj Singh. Ajay would like a set up a Special Task Force to deal with Gajraj, however, he does run into problems as Gajraj is politically well-connected. Then a child, who is a close friend of the state Chief Minister's, is kidnapped by Gajraj, and this paves the way for formation of the STF, consisting of about 8 honest and dedicated men, and this does results in the rescue of the child. Gajraj continues to elude the STF, using more modern technology such as the use of cell phones. But the STF bounces back and is able to monitor Gajraj's cell phones - only to find out that Gajraj is going to contest the elections - and if he wins than no police officer of any rank, leave alone the STF, can dare to arrest him or even consider him a suspect, and which may well result in the STF being mere paper tigers. —rAjOo (gunwanti@hotmail.com) Ajay Kumar (Warsi) is the newly appointed, honest SSP of Lucknow police. Of his family only his mother (Mulay) remains, and she inspires and motivates him to do the right thing. Ajay tries to crack down on the UP mafia, but more often than not is betrayed by information-leaking local police officials. His boss tries to aid him by shielding him from political pressures, and by getting sanction for Ajay's brainchild - a Special Task Force (STF), which would work across local jurisdictions, and state lines. Criminal activities in UP are dominated by Gajraj (Sushant Singh) and his gang. Aided and abetted in his nefarious activities by feudal lords and politicians, Gajraj is an intelligent and ruthless criminal. Trying to pin him down, the STF takes help from a physics professor Tiwari (Kapoor) who helps them track down cell-phone conversations, and thereby the location of the criminals. The STF then makes headway in combating crime across the state, but is still unable to get Gajraj. The final attempt to get Gajraj forms the climax of the film. —Amodini

Surjit`s (Anil Dhawan) sister is in love with Thakur`s brother, Manjit Singh. He goes to Thakur to seek permission for the marriage. Thakur humiliates him and then asks him to go and start the wedding preparations. Next day, Thakur visits Surjit and kills him and his wife. Surjit`s last wish is to get his sons, Aju (Ajay Devgan) and Kishan (Arshad Warsi), married to Thakur and his brother`s daughters Meena (Shabana Raza) and Preeti (Mayuri Kango). The rest is how the brothers fulfill their father`s last wish.

A man realizes that India is completely alien to his London-raised granddaughter and arranges her marriage there. She gets a guide to pose as her fiance and falls for him. After the passing away of his son and Caucasian daughter-in-law, London-based widower Purshotam Agarwal brings up his granddaughter, Namrata, on his own. When she matures, he pressurizes her to get married to Tikamgarh-based Ranveer's son. She travels to India, and much to his chagrin refuses to get married to the boy of his choice, and instead brings back a wealthy male named Romi, who she claims is her fiancé. Little does Purshotam know that Romi is not who he claims to be, and that Namrata has no intention of marrying him either. —rAjOo (gunwanti@hotmail.com)