Taxi Number 707 (2010)


Taxi Number 707 (2010)
Cast: Ahmad Butt, Nida Chaudhury, Amna, Mah Zeb, Hanan, Ali Raza
Director:  Waseem Hassan
Nutshell:  A film that will forever be remembered for the infamous Penis Eating “Gosht Khor Chooha” scene.  Lollywood at its most inspired


Eid in 2010 must have been very special due to the opening of Body Builder turned Actors latest release “Taxi Number707” also starring the current queen of the raunchy Mujra Nida Choudhary in the central role.  The film starts ominously with a burst of Disco-Electro-Afro-Paki-Funk to get the adrenaline pulsing through the system and the blood pumping to all the nether regions.  An exhilarating track accompanies the titles “Move, Move, Come on Baby” followed by some superb African chants and the viewer is ready for a thrill ride with Lollywood’s latest “Sexy-Type Thriller” starring muscleman Ahmed Butt and latest queen of the Stage Mujra, floozy Nida Chaudhary.

As the excitement of the title music wears off Taxi Number 707 starts on familiar ground with an innocent college PYT being ravaged by some louts; raped repeatedly and left for dead on the street.  He sister, the voluptuous inspector Aroosa (Nida), an upright police officer, is devastated and vows revenge on the culprits who happen to be the sons of powerful local politicians and bureaucrats (specifically targeted as villains in this film).  Soon, as in most Pakistani films and reality, the police and the judiciary are found as prone to moral decay as the rest of the nation and so the rapists are locked up but unlikely to face any punishment as their daddies have some mighty clout.  And so, it transpires that the Rapists are not charged but for some reason they remain in jail awaiting the sham trial.

Meanwhile the rapist plan to take revenge on the Inspector Aroosa for getting them banged up in jail to begin with.  They are allowed out of jail for just enough time to go and commit another gratuitous gang rape and murder.  This time Aroosa is the victim; raped appallingly multiple times while her family are forced to watch.  One by one her beloved family is hung in front of her eyes and she desperately tries to prop her newly-wed husband up just like Haseena Atom Bomb did years ago, but in that case and in this case too, the husband succumbs leaving our raped and crushed woman to rise from the ashes to exact terrible revenge.

The scene is now set for the usual second half of a Pakistani film of this nature involving a number of sleazy seductive situations where our avenging ex-cop Aroosa plays the murderous seductress but where she differs from her countless predecessors is that she has concocted some wonderful, squirm-inducing deaths for her assailants that are absolutely not for the squeamish but a delight for audiences who thronged cinemas to watch this Eid treat.

One of the rapists is trapped and tied up before he has bubbling acid poured into his trousers resulting in immediate Penis meltdown followed by a ghastly writhing death crawling and begging for the mercy that he doesn’t deserve nor does he receive.

The showstopper is left for the next revenge where a second rapist is also seduced and trapped and then tied up but this time it isn’t acid that is used but 13 deadly “Gosht Khor Choohas” (Flesh Eating mice) are dropped into his trousers and within seconds they devour his organs and leave him a mass of quivering, shaking lump of mincemeat for the mice to devour which they do with deadly efficiency.

Meanwhile Ahmed Butt who played her jilted suitor returns to action and must enforce the law even though he knows that Aroosa is a victim who deserves justice.  In the climactic scenes Butt arrives sleepwalking through his role attempting to bring the matter under some legal control.  He stands tall between his ex flames dealing her brand of justice to the last rapist and in a scene reminiscent of The Omen with Gregory Peck about to destroy the Evil only to have a bullet flying at him from the police.  Here Aroosa stands tall delivering her justice but the Law attempts to derail her in the form of Ahmed Butt.  Will she succeed in carrying out her mission and avenging herself and her sister or will the law have the last word?

Taxi Number 707 ends in the usual blood bath and orgy of violence and bloodletting with most of the cast being killed off (keeping things simple).  Perhaps we can hope for a sequel in days to come with Ahmed Butt continuing his quest to become the world’s first sleepwalking cop?

Taxi Number 707 is indicative of the malaise that had spread deep into the core of Lollywood by the turn of the century with the local industry nosediving in quality.  The rape revenge thing has been done to death and remains the staple “plot” for the standard Pakistani action pot boiler.  This cheaply slapped together film is basically an excuse to put together several seductive and sleazy mujra like dances and mix them in a with a dubious plot about morality and corruption and hey presto, you have your regular, everyday Lollywood film.

This one is on a par with the Rashid Dogar style of cinema where the backdrop for songs is the bedroom, drawing or living room or even occasionally a well-stocked kitchen.  The production values are virtually zero and the pacing of the film is so dreadful with the last half hour being slowed down by a number of songs that the director had apparently forgotten to weave into the plot of the film.  While the film is supposedly moving towards a climax, the audience has to watch half a dozen song and dance numbers in flashback form thus any build up to a climax is dissipated horribly as the films turns into an endurance test, like so many of its ilk.

Fortunately, the show stopping scene of the Flesh-Eating Mice almost saves the movie from total ignominy.  Never in the annals of world cinema has there been such a harrowing torture and death scene as witnessed in Taxi Number 707.   A film that gave the world of cinema the only “Penis being devoured by Man Eating Mice scene” ever in World Cinema.  Taxi Number 707 may not be the most polished film ever made but it contains a scene that has made cinema history.  A proud moment for Lollywood and Pakistan.