Director: R. maybe
the book: R. Balki, Raja Sen and Rishi Virmani
spit: Dulker Salman, Sunny Deol, Shreya Dhanwanthari, Pooja Bhatt, and Sarania Poonfanan
evaluation: 3.5 / 5
A serial killer targets movie reviewers and horribly disfigured corpses pile up. Arjun Mathur (Sunny Deol) is the cop in charge of finding the culprit before sending the case to the CBI. To help him, criminal psychologist Zenobia (Pooja Bhatt) steps in. Then there’s the cute lone florist, known as Danny (Dulker Salman) and his burgeoning romance with Nila (Shriya Dhanwanthari), a cub journalist who lives with her blind but saucy mother (Saranya Bonvan). It’s quite clear who the killer is but the big reveal is the motive. It’s more than just a killing unit.
What does… crafts
This is one of the most personal films of the last decade. Also, it’s one of those rare movies where you can’t blame any actor. Sunny Deol is making an amazing comeback (and less stretchy than usual). Although he is known for playing the role of cops, Arjun has him tied down. One can be reminded of Dor’s act (interestingly, his character in the movie was also against a psychopath). Pooja Bhatt is as effective as Zenobia, but one wishes it would do more than just make malicious comments and randomly expose the corpse. Sarania Bonfanan is the rock star mom we all need. She imbues all her scenes with a certain wit and wit. The scene in which she is imagining scenes from a movie, while her daughter is reading a review may also be a comment on how Blake feels the audience’s handling of movie reviews. Shreya Dhanwanthary (with the kind of experience you already have playing journalists, you might apply for a press pass) is the breath of fresh air, plus the rain of Mumbai adding a sense of romance to everything around it. However, her character has little to do but look beautiful, play the role of love, and then double up as bait. Usually heroines do it in Hindi films, and they do it well.
But this is a Dulquer Salmaan movie. The actor directs Norman Bates into his psychological work. It oscillates between creepy and cute with casual ease, never indulging in even an iota of melodrama. The Southern star proves his strength as an actor with his stellar performance as Danny. One cannot write more about his character in the movie to clarify the nuances because that might include spoilers. But DQ is LOVE.
His chemistry with Shreya, along with the atmospheric visuals that Pulke creates, really makes you wish that this was a poetic tale of love and longing, the romance of a rain-soaked monsoon and the light melodies of Guru Dutt films, an Indian cinematic poem, a nostalgic journey to ancient Bombay, and all Things are warm and fuzzy. And it’s not the same hateful murder movie as it is.
But to call it only that is a rejection of what Blake achieved in this film. It takes the story of a psycho killer into completely uncharted territory – a daring attempt that deserves all the applause for just thinking outside the box. Also, there is no denying the fact that the movie is his labor of love. The lighting, production design, editing, music and camera work are exceptional and together they make the movie look and feel great. Balki, along with cinematographer Vishal Sinha, creates some beautiful, haunting frames. Scenes in which they recreate some special moments Bysa And the kajaz ke fuA tribute to Guru Dutt and legendary cinematographer VK Murthy masterfully executed in pity hair weaving. What deserves a special mention is also Sneha Khanwalkar, first for not sabotaging Oh my world, I’m jealous of Mel Bhai Jayand secondly, to come up with such a painful thing for Bysa Song. The original songs of the film, penned by Swanand Kirkire and set to music by Amit Trivedi, are good but of course they can’t match the combined brilliance of Sahir Ludhianvi and SD Burman. The film also uses another of Bayasa’s masterpieces as the leitmotif of the love story. churn, Aside from being a tribute to Guru Dutt, it is also an ode to cinema and will strike a chord with movie buffs.
The dialogues are also poetic but sometimes they get a bit adaptive. Also, it is written somewhat as an inside joke between the movie fraternity. The mass audience may find some parts boring to follow. A fan of the horrific horror, I loved the gruesome murders and the idea of using often used lines from movie reviews as a way to work the mutilation is devilishly delicious and dark enough. It also makes the movie completely out of children’s reach (which ensures that you can actually enjoy the original soundtrack of the movie).
However, Blake’s choice to revisit each murder to show a more detailed version of the mutilations makes one wonder whether the film maker really enjoyed the gruesome ending he penned for film reviewers.
Balki tribute to cinema and the original agent of Indian cinema, Guru Dutt, works brilliantly when he celebrates Guru Dutt’s work through his works, but not when he uses Guru Dutt’s story to fit his purpose and justify his hatred. To portray Guru Dutt as just a guy who couldn’t stand a single movie fail and disappeared from the scene is blasphemy. In fact, his next movie as an actor, CHowvein Ka Chand It was a heavy blow. maybe failed Kagaz ke Phool He broke it in more ways than one, but his legacy goes much further than that.
whether Kagaz ke Phool’s Was the box office disaster the result of negative reviews (he wasn’t new to getting bad reviews, but then, it was his most personal work), or was it the audience’s detachment from the angst and melancholy of its featured hero, as described by Abrar Alawi, dialogue writer and screenwriter Film, open for discussion.
What not.. the vision
chop She is a great model for good cinema, full of dazzling shows. But its brilliance is overshadowed by the darkness and muddled negativity that emanates from its core.
At one point, he said that reviewers aren’t important and that the audience is king, but then the movie is all about killing reviewers to spoil the prospects for a brilliant filmmaker. If you ignore the killer’s perspective as that of a psychopath, then you also have Zenobia, who accuses reviewers of killing movies (her dialogue is “You critics are killers”). Indeed, the reviewer’s job is to dissect a movie, but calling them killers and blaming them for ignoring box office prospects introduces a serious logical flaw and factual error at the core of this drama. It also confuses one as to what the director is actually trying to say.
Then there is an attempt to justify the act by claiming that the killer only targets reviewers who do not provide honest reviews. If my view conflicts with yours, should you decide that I am “dishonest”? The horrific murder of reviewers appears to be an enlarged version of the intolerance that society faces today. It’s similar to conveniently tagging someone as a dwarf for sharing a contradictory view in the comments section of your post.
It seems that Balkey is trying very hard to justify it, especially by including Raja Sen (film critic turned filmmaker) on his team. There are dialogues here and there, and a speech by Amitabh Bachchan, trying to strike a balance by suggesting the importance of having movie reviewers, but the title itself spoils the intent. If one person’s ultimate freedom comes from silencing another – whether through physical force or political influence – the better word for that is “persecution”.
The best way to silence critics is to make good cinema. All too often, good cinema fails at the box office because the director becomes self-absorbed and self-obsessed while making the film and the result is too loud a coward to establish a connection with audiences. But, audiences, audiences, whom Blake showed the film first, were completely taken out of the box office numbers equation.
Ask a reviewer how you feel sitting at a difficult film festival and then write about it. Yes, some movies make you want to go on a killing spree.
Luckily, chopNot one of those movies. Blake writes his story mostly from a filmmaker’s point of view and gives his protagonist the director a license to kill reviewers. Yes, that makes you feel irritated in some scenes. But strangely enough, you can also deal with frustration – frustration caused by an intense love of cinema.
This is not a single watch movie. Although it has a thrilling story at its core, catching the killer isn’t its only focus. It’s a deliciously layered movie – one that needs to be watched and re-watched in order to be understood and appreciated in its full glory. One would only hope that it was less caustic. It’s not easy to love something that arouses a lot of hate on you (also, a poster that screams “Woody Allen Innocent” does a great job of pissing off film critics, movie fans, women and, one hope, the average audience in general).
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