Films based on prostitutes, have awestruck filmmakers and audience from Nargis and Meena Kumari movies `Adalat` and `Pakeezah` respectively. Then Sharmila Tagore carried the concept of the faultless prostitute to the peaks of sublimity in `Amar Prem` of Shakti Samanta.
With time, the idea of the prostitute with an aura has lost its polish. `Rajjo` tries hard to create compassion for the prostitute on the path of remedy. In `Rajjo` a newcomer have been seen Paras Arora tried to look like the guy that the concerned prostitute can depend on. `Rajjo` is a losing its battle all the way. Not only does the immature youngster seem unprepared to give `Rajjo` a new life, the script itself seems in distracted look for of a life. It meanders from an intended plot of self-satisfied aristocracy to a domain of absolute crudity. The dialogues seem like constructed for trickery during times of drama seem to sound like graffiti on the walls of toilets.
Unfortunately, good intentions don`t translate into a better cinema. Dialogues comparing commodities to women’s that are meant to be scornful attacks on the place accorded to women in the society, sounds cheesy. The choreography and editing don`t maintain Kangana`s character in any way.
As a substitute, they drive the story around the bend creating a kind of confused universe where actors drop in, say their chosen lines quickly and leave without getting implicated in the mess.The actors, even tried-and-tested ones like Prakash Raj and Mahesh Manjrekar seem to be loud to get notice.