There is a certain section of film-makers who follow an easier way of attracting an instant footfall in the theaters by intentionally including vulgarity and sex in their granted two hours. Admittedly these projects are made, since they do have a market of their own in the smaller centers and interiors fetching a decent amount of returns for its producers.
CHITKABREY seems to be one of such films, which interestingly also takes the support of a socially relevant plot about Ragging & Revenge. But still deep inside, it remains a deliberate attempt to be an "extra bold venture with few suggestive and sexual scenes" added intentionally for a particular market.
It revolves around the inner secrets of seven friendly couples and their individual past. A usual mistake of 'Ragging' made in their college days puts them in a tense situation in the present after many years. And now they find themselves in a BIG BOSS kind of situation where they all are locked up in a house, remaining on the mercy of a character which they all had completely forgotten long ago.
The plot was no doubt good but it's the treatment eying on a different section of viewers, which is the main culprit here, ruining a well thought of theme in a very poor manner. The major flaw in the project is its amateurish kind of writing which drastically fails to make any kind of impact post the first 10 minutes of the film. In the initial moments, it all goes well till the narration starts moving into their past. The execution of its various importance sequences is quite vulgar which actually works against the film, particularly its climax which is entirely a washout.
The only saving grace of CHITKABREY remains Ravi Kishan, who tries hard to excel in his role of a ragging victim and then the Boss. But the writers don't let him impress the viewers through his sincere efforts in any way. The rest of the cast is just there with nothing great to write about. However, I was really surprised to see Rahul Singh doing such an act, completely opposite of his impressive performances in all those meaningful films (like the few directed by Shyam Benegal). In effect, his hamming act strongly reminded me that 'How an entire project depends upon the vision of its director alone and not the actors'.
In the end, I would like to say that if only the writer-director Suneet Arora had given more thought towards the execution of his film and less to its poster designing, then it surely could have been a watchable venture for sure. (As one of its posters is indeed a well designed one and another hugely inspired from an English flick "Identity")
