Chaalchitro: The Frame Fatale

While the narrative may have a couple of shortcomings, the film is always one step ahead of you. The sharp editing and the crisp runtime further accentuate the depiction of police procedures and the execution of the crimes. Though it veers away from typical buddy-cop tropes, a limited series format might have allowed the story more room to breathe and develop.

The film does well in exploring the personal crises of its lead characters, weaving their emotional struggles seamlessly into the narrative. These moments of dramatic turmoil enhance, rather than detract from, the story. However, one subplot feels underdeveloped, contributing little to the overall plot. The interpersonal dynamics between the police officers are a highlight. Their differing priorities shape their approaches to the case, and the restrained use of banter ensures the focus remains on the events rather than the characters. Unlike many Bengali crime thrillers, the balance between character development and plot progression is handled adeptly here. That is where Chaalchitro scores, reaching a new height in Bengali cinema.

Chaalchitro - The Frame Fatale is not for the faint-hearted. The gruesome murders depicted in the film are disturbing but essential to the narrative. Kanishka and his team's investigation is a rollercoaster of emotions, filled with dead ends, revelations, and moments of despair. What I loved most was the authenticity of the detective work. The procedural elements are detailed and believable, drawing you into the world of the investigators.

Kanishka's struggle with his past adds an emotional core to the film, making it more than just a crime thriller. The climax ties the threads together in a way that's both satisfying and chilling. This is a film that stays with you long after the credits roll.

Kolkata is rocked by a gruesome murder, and the case lands on the desk of two seasoned detectives, Kanishka Chatterjee (Tota Roy Chowdhury) and Naseer (Anirban Chakrabarti) from the Kolkata Police Detective Department. Their instincts kick in as they notice an eerie resemblance to an old case. Joining the chase are the spirited young IPS officer Ritesh Kumar (Shantanu Maheshwari) and the dependable Bishwa (Indrajeet Bose). But as the investigation unfolds, the city's streets turn red with more victims, and the pressure mounts.

Nothing sets the mood on a winter night like a bone-chilling thriller, and Pratim D. Gupta delivers one with flair. Packed with a delectable plot and a handful of red herrings, the film pulls viewers into a rollercoaster of suspense. While it occasionally teeters on predictability, the story's pace, intensity, and edge-of-your-seat twists make it nearly impossible to look away.

Pratim masterfully scatters the pieces of his puzzle, leaving the audience to play detective. The first half grips you with razor-sharp efficiency, as every twist pulls you deeper into the mystery. Though the second half leans more heavily on its surprises, the film keeps the guessing game alive till the very end, ensuring a thoroughly entertaining ride.

What stands out in the film is the interpersonal development that would compel the audience to empathise with not just the lead but the smaller, yet extremely significant characters. One such would be Anirban Chakrabarti (Naseer) and his daughter Putul's (Tanika Basu) relationship. The father-daughter dynamic is remarkable. On the other hand, Shantanu Maheshwari as the newbie officer, Ritesh, strikes a firm balance between tenderness and toughness, while Inderjeet Bose as the gym-going, intake-conscious cop Bishwa has a tender soul that shines through. This is perhaps where Chaalchitro wins, where the characters come alive through simple brushstrokes. Bratya Basu's tiny role makes an incredible impact in the overall tone of the film, while Tanika Basu plays Putul with a beautiful balance where many may go overboard.

The drama intensifies significantly in the first half, but in the second half, loses its steam a little bit, only to draw out a strong climax.

The significance of backstories cannot be overstated; they are indeed essential particularly in the realm of investigative thrillers, where the inclusion of subplots is rather critical.

However, it is imperative that these additional narratives always maintain a seamless connection to the central theme. They must not drift aimlessly, resembling isolated entities in a vast void, devoid of purpose or relevance.

A striking illustration of this misstep can be found here, in a thriller that, despite possessing all the requisite elements, fails to reach its intended goals.

The problem lies in the script becoming excessively distracted or rather overly entangled in subplots, leading to the unacceptable neglect of the primary storyline concerning the serial killings, which is criminally sidelined for a major chunk of the duration.

Not to mention, one cannot overlook a myriad of inconsistencies & illogicalities woven into the screenwriting, elements that defy reason.

Performances, too appeared kind of superficial, particularly that of Tota Roychowdhury's, whose demeanor, dialogue delivery, and body language felt contrived, as if his headspace is confined to a singular emotional register.

In contrast, Apurba made a remarkable impression in a mere fifteen minutes of screen time, exemplifying what it means to be an impactful on-screen presence.