The sweet virginal college kid type (Saxena). The women are written as a clutch of clichés, too. Through all of this, we get no special insights into this kind of male, who grows in years but not in sexual or any other kind of maturity. The existence of sex addicts is well-documented, and Mandar’s journey is much too generic : the first experience of an ‘adult’ film, the going through a string of women, the reaching the point of wanting to stay, not stray. The trouble with ‘Hunterrr’ is that it is largely banal. And how he progresses, from a panting teen to a horny young fellow to an adult with uncontrolled lust, where after sowing ‘hundred, not out’, wild oats, he is looking to settle. The film zigs into the past, zags to the present, jumps back a little, repeating this pattern while showing us how he gets into the sex thing in the first place. So there goes our Mandar, tracing a confusing timeline. That he also equates it to daily elimination, which is also `a need’, sets the tone for ‘Hunterrr’ : that it will state the obvious, and underline it. Mandar Ponkshe ( Devaiah), whose name itself suggests mild lewdness going by the reaction of his two best friends, makes the connection between sex-and- physical-need.
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