I hesitated to purchase this movie for fear of too much realism (or over-the-top melodrama), but I was pleasantly surprised to find that it really had a lot of heart, while showing a whole side of street life that's usually invisible to the passerby.I didn't feel that the subject was being 'candy-coated' either -- much of the awfulness and heartbreak of such an existence is graphically included, and the director stated that they 'did their homework' in bringing the realities of it to the screen. Kunal Khemu is a very talented actor, so very expressive, and not afraid to show emotion. I recommend it to anyone who wants a glimpse into this part of Indian society, and maybe a partial understanding of what this type of life is like for so many.

May be my expectations were too high after watching chandni bar and page-3. The effort was no where to be seen through-out this movie.Having a good plot is not enough. The script was far below PAR, a lot of the scenes don,t glue together( most of them look to be squeezed in between)None of the actors were able to make an impression, except for konkana sen . I am still not able to digest madhur using "bollywood" style melodrama, in desperate attempt to create some effect on the viewer. kunal's dialogue delivery was mediocre, the scene when kunal talks to his folks while being taken away by the police, is the worst of all.spare your self!

After the hard hitting movies like Chandni Bar, Page 3, Corporate, now comes another realistic movie from the house of Madhur Bhandarkar. If Chandni Bar was about Bar Girls, Page 3 was about high society parties, Corporate was about Corporate Lives then Traffic Signal is about the peoples living around traffic signals.Traffic Signal is about the dark hidden truth behind the irony of peoples making their breads around traffic signals and the politics beind it. This movie shows the relation between these peoples with politicans and underworld. This shows the sufferring of these peoples in the hands of politicians for their own interests.Kunal Khemu as Silsila whose name has been derived from Silsila the movie as his father liked that movie very much. He has done justice to his role. Neetu Chandra is also impressive. Konkana has played the role of Prostitute. She needs a special mention for her passion to the role played. Their are peoples as eunuchs, prostitutes, physically handicapped, fruit vendors, newspapers & magazines etc. The relation between these peoples have been showed nicely. It is also said that most of the peoples are actually from Traffic Signals.

We know very well that there exists a racket or rather a complete mafia in those shady people you get to see a traffic signals but is that system so well defined? I doubt. Another thing, is there only angels that live at signals as depicted here or are there devils too, who sadly you don't see. But further I like to add that among new age directors Madhur Bhandarkar is one person who takes up issues and characters from daily life, and has guts to give them a voice. Sadly this time, that voice is lacking.Over dramatic, too verbose, noisy, too much structured with not much development in storyline till you reach climax are few things that has taken its toll. The result a half- baked product. When you don't have much too say and have no statement to make, this is what happened to even unconventional, offbeat cinema too. Don't just put interesting, relevant characters, but rather craft a screenplay around it, then only things make sense otherwise not. The height here is even an item song to please certain type of audience. . After few scenes, the narrative becomes repetitive. The subtle and sensitive approach towards the subject is not taken. Also film is replete with tele, close shots and in absence of establishment shots, the impact falls. Not every time a narrative that works for "Page three" works in every set up.Nonetheless, there are few plus points. The film is free from any vulgarity and can be watched with family. Few scenes viz. the ones with Ranvir sheorey are nicely done. Madhur Bhandarkar still deserves a pat on shoulder for exploring topics that are away from the vicinity of rotten, commercial cinema.