Dawshom Awbotaar

Director #SrijitMukherji's latest product from his Cop Universe and from the house of #SVF, jointly delivered a much-hyped but a thoroughly disappointing melodramatic daily-soap kinda experience. The first half was no-doubt fast-paced and power-packed, but on the contrary, the second half lacked its pace and the screenplay went totally haywire. Music is equally awful, and so is the editing. The second poorest release after Bagha Jatin. The camera work is fairly moderate. But over-usage of slo-mo and Drone shots seems overrated. The plot is predictable and the screenplay is neither edge-of-the-seat, nor gripping. Both #ProsenjitChatterjee & #JisshuSengupta delivered good performances, #AnirbanBhattacharya is fair too, while #JayaAhsan tried her best, but all her efforts to cope up with the predictable plot rendered futile. However, its a one-time watch movie. Moral of the story, over-usage of cuss words and intimate scenes along with titillating the audience with previous franchises' hints couldn't save the drowning ship, when the premise is itself weak.

Let us be honest, "Baishe Srabon" was an iconic film. It was nothing short of a landmark in Bengali cinema that changed the industry's ideology forever.

It was too big of a task to replicate the success and the impact (both literally and figuratively), let alone surpass, even for the writer-director himself. I don't think anybody counted on that, although admittedly, we kept our fingers crossed and hoped for the best, including me, a fan of 2011's original.

Everything was going well for the first two acts. I was delighting in the friendly banters between the Probir-Poddar pair and their sparkling chemistry. I was also intrigued by the investigative parts of the murders that were taking place in succession. I was hooked on the ride.

Then, the third act happened, and everything went awry; it seemed like Srijit Mukherji was in a hurry and rushed up to the conclusion, resulting in a climax which raised more queries than gave us clear-cut answers.

The story needed, or rather demanded, a suitable finale, which Mr Mukherji failed to provide, therefore leaving a sore taste that may linger for days to come!

The shared universe is a gimmick. This film can't be a prequel because it creates major loopholes for the other films in the franchise. If you consider that this Probir and Poddar aren't the same Probir and Poddar we have seen before and that this is an alternate take on their characters happening in some other timeline, then it's fine. Coming to the story, Srijit has mastered how to ruin a well-going thriller. A twist everyone saw a mile away coming, but major plotholes there too. Injustice done to Jisshu's character, whose character could've been one of the memorable villains or anti-heroes, is watered down to a forgettable generic villain or psychopath. Performance-wise, Prosenjit Chatterjee and Anirban were excellent and the only redeeming factors in this movie. The camaraderie is presented well. Jaya wasn't in her best form. Jisshu did fine with whatever was given to him. Cinematography and BGM are fine, but too much use of slow motion gets on the nerves. And the CGI at the end is laughable. Shout out to the editor for that crazy cut during the car chase scene, but again, overuse of slo-mo kind of ruined the whole scene.

Every great thing has to come to an end at some point. '22 Se Srabon' should have remained a standalone film. There was no need for the sequel, 'Dwitiyo Purush,' or the prequel, 'Dawshom Avatar.' It seems that 'Dawshom Avatar' was primarily created for profit by capitalizing on nostalgia. Unfortunately, the film fell short in many aspects, except for the songs and acting. The use of slang in the movie felt forced, and the action scenes were quite illogical. The script appeared underdeveloped, and the editing was subpar. This resulted in the film being quite tedious to watch. 'Dawshom Avatar' doesn't quite fit into the thriller or drama genre; it feels more like a money-making endeavor. It might be a good time for Srijit Mukherjee to take a break and return with a stronger, more thought-out script. If you find yourself with no other movie options during this festive season, you might be better off watching this movie in the theater to catch up on some rest. I wouldn't recommend this movie, even for an OTT platform.

"Dasham Avatar," Srijit Mukherji's 2023 Bengali thriller, arrived with a significant weight of expectation, not least because it promised to unite two of his most iconic police characters: Probir Roy Chowdhury (Prosenjit Chatterjee) from "Baishey Srabon" and Bijoy Poddar (Anirban Bhattacharya) from "Vinci Da." This "cop multiverse" concept, while exciting on paper, ultimately proved to be both the film's greatest draw and its most significant challenge.

The premise is immediately intriguing: a serial killer terrorizes Kolkata, with each murder meticulously staged to mirror the ten avatars of Vishnu. This mythological underpinning provides a fertile ground for a dark, intellectual thriller, and Mukherji, known for his intricate plotting, certainly starts strong. The initial acts are a testament to his directorial prowess, skillfully building suspense and introducing the compelling dynamic between the seasoned, often cynical Probir and the sharp, unconventional Poddar. Their camaraderie, a blend of witty banter and professional respect, is a definite highlight, carrying much of the film's early momentum. Prosenjit Chatterjee, reprising his role after over a decade, slips back into Probir's skin with effortless charm, while Anirban Bhattacharya continues to impress as the quirky Poddar.

Cinematographically, "Dasham Avatar" is a triumph. Soumik Halder's lens paints a vivid and often haunting portrait of Kolkata's underbelly - its labyrinthine alleys, bustling streets, and the interplay of light and shadow, all contributing to an immersive and atmospheric viewing experience. The visual storytelling elevates the film beyond its narrative shortcomings, showcasing a city that is as much a character as the protagonists. The meticulously staged murders, with their mythological connections, are visually striking and contribute to the film's chilling aesthetic.

However, where "Dasham Avatar" truly falters is in its execution, particularly in its third act. The film's ambitious narrative, initially so promising, begins to unravel, leading to a conclusion that many critics found rushed, incomplete, and unsatisfying. The intricate build-up of suspense and investigation gives way to a hasty climax, leaving viewers with unresolved questions and a lingering sense of unexplored potential. This abrupt ending significantly undercuts the film's impact and prevents it from reaching the heights of Mukherji's earlier thrillers like "Baishey Srabon" or "Chotushkone." The attempt to replicate the narrative twists of "Baishey Srabon" feels half-baked and out of place, ultimately diminishing the overall experience.

Moreover, the integration of the "cop multiverse" isn't entirely seamless. While the pairing of Probir and Poddar is enjoyable, the necessity of linking "Vinci Da" feels somewhat forced, with critics noting a lack of genuine connection or justification for Anirban Bhattacharya's character to be Poddar from that specific film. It often feels like a deliberate attempt to capitalize on past successes rather than a natural progression of a shared universe. Certain directorial choices, such as an overreliance on slow-motion sequences during confrontational scenes, also drew criticism for being gimmicky and even nauseating in some instances.

Despite these flaws, "Dasham Avatar" is not without its merits. The performances from the lead actors, particularly Prosenjit Chatterjee and Anirban Bhattacharya, are commendable. Jisshu Sengupta, as the antagonist, also delivers a strong performance, both in and out of his disguises. The film's soundtrack, featuring contributions from Anupam Roy and Rupam Islam, adds another layer of emotional depth. The commitment to visual detail and the initial promise of its unique premise make it an engaging watch for a significant portion of its runtime.

In essence, "Dasham Avatar" is a film that shines brightly in its individual components - stellar cinematography, strong performances, and an intriguing concept - but ultimately struggles to coalesce into a cohesive and wholly satisfying whole. It's a cinematic endeavor that, while visually arresting and entertaining in parts, leaves a sense of untapped potential, falling short of the high standards set by its director's earlier works in the thriller genre.