cs_rahul_prasad
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Director Rosshan Andrrews sets the stage for a gripping whodunnit right from the opening scene. Dev Ambre (Shahid Kapoor) calls his boss, DCP Farhan Khan (Pravessh Rana), to declare that he has solved a murder case and knows the identity of the killer. Just as you settle in for a murder mystery, the intrigue deepens-Dev loses his memory after a major accident. Over the course of 156 minutes, the screenplay team-Bobby-Sanjay, Abbas Dalal, Hussain Dalal, Arshad Syed, and Sumit Arora-takes you through the various layers and shades of Dev, and the unraveling of the mystery.
The film's first half focuses on building the backdrop of the film and the characters world, keeping the pace slow yet engaging. The dynamics between Dev and his friend Roshan D'Silva (Pavail Gulati) slightly overstretches, but their collective pursuit of powerful mafia dons keeps the momentum alive. As the mystery thickens in the second half, the tonality shifts from action to dark and intense emotions and mood. Dev struggles to navigate his world while dealing with memory loss, turning the movie into a slow burn. However, the well-maintained suspense ensures you stay invested.
Amit Roy's cinematography, combined with action and stunts by Anal Arasu, Supreme Sundar, Vikram Dahiya, Parvez Shaikh, and Abbas Ali Moghul, makes for an entertaining watch. Jakes Bejoy's background score is a banger, particularly when paired with the action sequences, giving the film a raw and intense edge. However, some visual effects feel gimmicky. Vishal Mishra, along with Bejoy, delivers the songs Bhasad Macha and Marji Cha Maalik, which enhance the film's mood.
Shahid Kapoor delivers a brilliant performance as Dev Ambre, balancing menace and vulnerability. There are moments where his actions are unpalatable, yet you find yourself rooting for him in some others. His portrayal of Dev before the memory loss (Dev A) and after (Dev B), showcases his range as an actor-his rugged persona intermittently resurfaces within the milder, confused version of himself. However, there are instances where his performance veers into over-the-top territory.
Pooja Hegde is effective as his girlfriend, journalist Diya, though her character remains largely unexplored despite being the first to hint at a possible mole in the police department. Kubbra Sait delivers a powerful performance in her brief role as a cop, Deepti, but is frustratingly underutilised, and appears out of the blue. Pavail Gulati and Pravessh Rana lend solid support.
That said, the film isn't without flaws. The narrative has several loopholes and moments that feel unconvincing-a sniper shot, for instance, seems far-fetched. Some loose ends remain unexplained. Dev's childhood hardships and his motivation to become a cop to arrest his abusive father are referenced multiple times but never fully explored. The overall pace remains slow, yet it manages to keep you engaged and entertained. The film has inconsistencies, however, its intensity, raw appeal, and slick execution make it worth a watch.
The film's first half focuses on building the backdrop of the film and the characters world, keeping the pace slow yet engaging. The dynamics between Dev and his friend Roshan D'Silva (Pavail Gulati) slightly overstretches, but their collective pursuit of powerful mafia dons keeps the momentum alive. As the mystery thickens in the second half, the tonality shifts from action to dark and intense emotions and mood. Dev struggles to navigate his world while dealing with memory loss, turning the movie into a slow burn. However, the well-maintained suspense ensures you stay invested.
Amit Roy's cinematography, combined with action and stunts by Anal Arasu, Supreme Sundar, Vikram Dahiya, Parvez Shaikh, and Abbas Ali Moghul, makes for an entertaining watch. Jakes Bejoy's background score is a banger, particularly when paired with the action sequences, giving the film a raw and intense edge. However, some visual effects feel gimmicky. Vishal Mishra, along with Bejoy, delivers the songs Bhasad Macha and Marji Cha Maalik, which enhance the film's mood.
Shahid Kapoor delivers a brilliant performance as Dev Ambre, balancing menace and vulnerability. There are moments where his actions are unpalatable, yet you find yourself rooting for him in some others. His portrayal of Dev before the memory loss (Dev A) and after (Dev B), showcases his range as an actor-his rugged persona intermittently resurfaces within the milder, confused version of himself. However, there are instances where his performance veers into over-the-top territory.
Pooja Hegde is effective as his girlfriend, journalist Diya, though her character remains largely unexplored despite being the first to hint at a possible mole in the police department. Kubbra Sait delivers a powerful performance in her brief role as a cop, Deepti, but is frustratingly underutilised, and appears out of the blue. Pavail Gulati and Pravessh Rana lend solid support.
That said, the film isn't without flaws. The narrative has several loopholes and moments that feel unconvincing-a sniper shot, for instance, seems far-fetched. Some loose ends remain unexplained. Dev's childhood hardships and his motivation to become a cop to arrest his abusive father are referenced multiple times but never fully explored. The overall pace remains slow, yet it manages to keep you engaged and entertained. The film has inconsistencies, however, its intensity, raw appeal, and slick execution make it worth a watch.
Roohi (Shweta Basu Prasad) is 28 years old and still a virgin owing to a promise she made to her grandmother (Apara Mehta). Subhadra's apprehension comes from the fact that her daughter and Roohi's mother, Paakhi (Sonali Kulkarni) had a teenage pregnancy, a fact that brought social shame in a conservative society. But having mended ties with her once estranged daughter, the three now live as a close knit family, bingeing on their favourite television soap together, every evening. Omkar (Abhay Mahajan) Roohi's boyfriend of three years is deeply committed to her and agrees to wait till they are officially hitched.
It's all pretty hunky-dory till Roohi's visit to gynae for a check-up leaves her pregnant! In a case of mistaken identity, she is artificially inseminated by the one of the last few 'good sperms' of a man who turns out to be her boss, Samar (Ashim Gulati). While Roohi's first reaction is to opt for an abortion, Samar who has survived testicular cancer and his wife Alisha (Amy Aela) try to convince her to be a surrogate mother, so they can adopt the baby, putting her in a dilemma. But that's not the only thing that adds chaos to her life.
While Omkar tries to be supportive of her decision to carry the baby to full term, Roohi finds herself getting increasingly attracted to Samar. To complicate matters further, Samar and Alisha seem to have hit a dead end in their marriage. And in the middle of all this ensuing drama, there is some more when Roohi finds out the identity of her father, who she never knew of. On the other hand, Omkar, an Intelligence Bureau detective unearths some uncomfortable truths about Samar's family, while investigating a drug smuggling case. As personalities Samar and Omkar are as different as chalk and cheese and almost at each other's throat most times.
Oops! Ab Kya? The official adaptation of the series, Jane The Virgin, pretty much follows the same trajectory, with a few changes. Overall, the narrative is a pot-pourri of emotional highs and lows, drama and comedy. While the series humours the common tropes of soap operas quite effectively, it goes over the top quite often. Also the over-explanation by the narrator robs the show of some of its charm. And there are some cringe moments too ('Gullak' as a metaphor for virginity being one) and the jokes don't always land. But that said, it does tear into societal norms and hypocrisies while sticking to its quirky, chaotic vibe.
The series has good, dependable performances by seasoned actors Apara Mehta, Jaaved Jaffrey and Sonali Kulkarni. Shweta Basu Prasad is impressive as Roohi, going through a gamut of emotions as her life goes from perfectly planned to topsy-turvy. Abhay Mahajan as the no-nonsense, committed Omkar and Ashim Gulati as the suave Samar hit the right notes.
Overall, Oops! Ab Kya? Is a mixed bag though it makes for a decent, breezy watch. And of course the cliff-hanger ending ensures there will be a season 2.
Videos.
It's all pretty hunky-dory till Roohi's visit to gynae for a check-up leaves her pregnant! In a case of mistaken identity, she is artificially inseminated by the one of the last few 'good sperms' of a man who turns out to be her boss, Samar (Ashim Gulati). While Roohi's first reaction is to opt for an abortion, Samar who has survived testicular cancer and his wife Alisha (Amy Aela) try to convince her to be a surrogate mother, so they can adopt the baby, putting her in a dilemma. But that's not the only thing that adds chaos to her life.
While Omkar tries to be supportive of her decision to carry the baby to full term, Roohi finds herself getting increasingly attracted to Samar. To complicate matters further, Samar and Alisha seem to have hit a dead end in their marriage. And in the middle of all this ensuing drama, there is some more when Roohi finds out the identity of her father, who she never knew of. On the other hand, Omkar, an Intelligence Bureau detective unearths some uncomfortable truths about Samar's family, while investigating a drug smuggling case. As personalities Samar and Omkar are as different as chalk and cheese and almost at each other's throat most times.
Oops! Ab Kya? The official adaptation of the series, Jane The Virgin, pretty much follows the same trajectory, with a few changes. Overall, the narrative is a pot-pourri of emotional highs and lows, drama and comedy. While the series humours the common tropes of soap operas quite effectively, it goes over the top quite often. Also the over-explanation by the narrator robs the show of some of its charm. And there are some cringe moments too ('Gullak' as a metaphor for virginity being one) and the jokes don't always land. But that said, it does tear into societal norms and hypocrisies while sticking to its quirky, chaotic vibe.
The series has good, dependable performances by seasoned actors Apara Mehta, Jaaved Jaffrey and Sonali Kulkarni. Shweta Basu Prasad is impressive as Roohi, going through a gamut of emotions as her life goes from perfectly planned to topsy-turvy. Abhay Mahajan as the no-nonsense, committed Omkar and Ashim Gulati as the suave Samar hit the right notes.
Overall, Oops! Ab Kya? Is a mixed bag though it makes for a decent, breezy watch. And of course the cliff-hanger ending ensures there will be a season 2.
Videos.
Vishal Bhardwaj takes Agatha's 1931 British novel The Sittaford Mystery and sets it in Solang Valley and Manali in Himachal Pradesh. The snow-covered mountains and old-world mansions, however, are the only visual similarities between the adapted text and the original one.
The characters and their backgrounds are steeped in local flavour and benefit from India's ethnic diversity. The detective investigating the murder case is Charlie Chopra (Wamiqa Gabbi), a Punjabi girl, engaged to Jimmy (Vivaan Shah), an entrepreneur who has been arrested for the murder of his maternal uncle, Brigadier Rawat (Gulshan Grover).
Gulshan, infamous for being cast as the 'bad man' throughout the years, is actually the one who's been killed here. The actor's polished demeanour and the underlying evil streak lend him a beyond-the-grave intrigue that haunts the entire storyline.
Speaking of haunting, those of you who have watched the pilot episode that dropped back in June, would know that the show kicks off with a supernatural/horror element. Roy (Naseeruddin Shah), a paranormal investigator, invokes Lady Rose, a spirit who guards the Solang Valley, to declare that Rawat is dead.
Costume designer Abhilasha Sharma's eccentric clothes, cinematographer Tassaduq Hussain's staging, and Naseer's immersive histrionics make that scene feel like a page straight out of a play. Agatha's novel also started with a table-turning session, but the theatrical quality of the scene in Charlie Chopra makes it amply clear that it's not a supernatural murder mystery. Since it's set almost a century after the original text, we see the other actors in the room share our amusement and suspicion towards the mumbo jumbo.
Another theatrical element used generously by co-writers Vishal, Anjum Rajabali, and Jyotsna Hariharan, is Charlie breaking the fourth wall. Charlie has a banging introduction, dancing in a baaraat before she wears the detective hat and begins tracing the groom's stolen jootis. It's only when she receives a call about his fiancé's arrest that we see her break the fourth wall with a Punjabi expletive.
Wamiqa looks and feels like Charlie, a hereditary detective trained well by her estranged mother (watch out for that cameo). But her dropping sister di gaalis and exposition directed towards us in the middle of a scene don't always land. This format is still very new to the Indian senses, and Charlie Chopra is only a baby step in the direction of the Fleabags.
A fellow investigator in journalist Sitaram (Priyanshu Painyuli) only makes the case for breaking the fourth wall weaker. Charlie is always discussing the nitty-gritties of the investigation with him, instead of bouncing theories with us.
The technique does evoke instant reactions at two particular points - when she asks us to look away while changing her clothes, and when she shuts the door on us after an embarrassing moment. Those two instances make the viewers truly participative by questioning their prying gaze.
The USP of Charlie Chopra & the Mystery of Solang Valley is how seamlessly Vishal interweaves the individual back story of each character with the investigation process. It gives this whodunit wings because every suspect has not only a motive, but also the means and will to get the job done. It's only the one who took the leap in that moment that ended up as the killer.
During Charlie's investigation, we come across several side-plots which could very well be separate short stories of their own. There's a physically-challenged Parsi woman (Ratna Pathak Shah), a no-nonsense ill-tempered boy (Imaad Shah), a struggling writer (Chandan Roy Sanyal) and his wife with a beauty parlour (Paoli Dam), a dialysis-bound former soldier (Danish Aslam), a retired army general, a Muslim single woman (Lara Dutta) and daughter, your regular genial mama and mami (Neena Gupta), and the most obvious suspect - the house help and his wife (Hiba Shah).
All their storylines are fascinating to say the least, and like any sumptuous whodunit, all roads lead to murder. Every character is so promising that instead of having them rushed through a three-hour narrative, I'd have personally preferred weekly drops of an hour-long episode dedicated to one suspect each.
Casting of the entire Naseeruddin Shah family under one roof, a murder by slamming the tabla on head, and an important reference to Vijay Anand's 1966 thriller Teesri Manzil are just some of the winks in Vishal's screenplay. But the mood of the show isn't all winks, and no wisdom.
There are at least a couple of extremely moving moments, like Wamiqa fake-calling her estranged mother on the phone instead of talking to the camera for an intimate conversation, or a soldier helping out a wounded fellow, or a mother getting betrayed by a lustful father.
Even the original music that Vishal inserts through the series ranges from the pulpy opening theme (can't get Sunidhi Chauhan crooning 'Charlie Chopra' out of my head), Sunidhi and Rekha Bhardwaj's pensive mood pieces in the above-mentioned moving moments, and the meditative yet suspenseful sprinkling of the tabla and the sarangi.
These desi touches of music, humour, and personalities make Charlie Chopra & the Mystery of Solang Valley a whole new experience even for those who have read the original book. And for the others, it may seem a bit overwhelming in the beginning, but would soon engulf you into its world of deceit and empathy. Empathy, because none of the suspects are seeking power here, they're only trying to get by through tough times.
The characters and their backgrounds are steeped in local flavour and benefit from India's ethnic diversity. The detective investigating the murder case is Charlie Chopra (Wamiqa Gabbi), a Punjabi girl, engaged to Jimmy (Vivaan Shah), an entrepreneur who has been arrested for the murder of his maternal uncle, Brigadier Rawat (Gulshan Grover).
Gulshan, infamous for being cast as the 'bad man' throughout the years, is actually the one who's been killed here. The actor's polished demeanour and the underlying evil streak lend him a beyond-the-grave intrigue that haunts the entire storyline.
Speaking of haunting, those of you who have watched the pilot episode that dropped back in June, would know that the show kicks off with a supernatural/horror element. Roy (Naseeruddin Shah), a paranormal investigator, invokes Lady Rose, a spirit who guards the Solang Valley, to declare that Rawat is dead.
Costume designer Abhilasha Sharma's eccentric clothes, cinematographer Tassaduq Hussain's staging, and Naseer's immersive histrionics make that scene feel like a page straight out of a play. Agatha's novel also started with a table-turning session, but the theatrical quality of the scene in Charlie Chopra makes it amply clear that it's not a supernatural murder mystery. Since it's set almost a century after the original text, we see the other actors in the room share our amusement and suspicion towards the mumbo jumbo.
Another theatrical element used generously by co-writers Vishal, Anjum Rajabali, and Jyotsna Hariharan, is Charlie breaking the fourth wall. Charlie has a banging introduction, dancing in a baaraat before she wears the detective hat and begins tracing the groom's stolen jootis. It's only when she receives a call about his fiancé's arrest that we see her break the fourth wall with a Punjabi expletive.
Wamiqa looks and feels like Charlie, a hereditary detective trained well by her estranged mother (watch out for that cameo). But her dropping sister di gaalis and exposition directed towards us in the middle of a scene don't always land. This format is still very new to the Indian senses, and Charlie Chopra is only a baby step in the direction of the Fleabags.
A fellow investigator in journalist Sitaram (Priyanshu Painyuli) only makes the case for breaking the fourth wall weaker. Charlie is always discussing the nitty-gritties of the investigation with him, instead of bouncing theories with us.
The technique does evoke instant reactions at two particular points - when she asks us to look away while changing her clothes, and when she shuts the door on us after an embarrassing moment. Those two instances make the viewers truly participative by questioning their prying gaze.
The USP of Charlie Chopra & the Mystery of Solang Valley is how seamlessly Vishal interweaves the individual back story of each character with the investigation process. It gives this whodunit wings because every suspect has not only a motive, but also the means and will to get the job done. It's only the one who took the leap in that moment that ended up as the killer.
During Charlie's investigation, we come across several side-plots which could very well be separate short stories of their own. There's a physically-challenged Parsi woman (Ratna Pathak Shah), a no-nonsense ill-tempered boy (Imaad Shah), a struggling writer (Chandan Roy Sanyal) and his wife with a beauty parlour (Paoli Dam), a dialysis-bound former soldier (Danish Aslam), a retired army general, a Muslim single woman (Lara Dutta) and daughter, your regular genial mama and mami (Neena Gupta), and the most obvious suspect - the house help and his wife (Hiba Shah).
All their storylines are fascinating to say the least, and like any sumptuous whodunit, all roads lead to murder. Every character is so promising that instead of having them rushed through a three-hour narrative, I'd have personally preferred weekly drops of an hour-long episode dedicated to one suspect each.
Casting of the entire Naseeruddin Shah family under one roof, a murder by slamming the tabla on head, and an important reference to Vijay Anand's 1966 thriller Teesri Manzil are just some of the winks in Vishal's screenplay. But the mood of the show isn't all winks, and no wisdom.
There are at least a couple of extremely moving moments, like Wamiqa fake-calling her estranged mother on the phone instead of talking to the camera for an intimate conversation, or a soldier helping out a wounded fellow, or a mother getting betrayed by a lustful father.
Even the original music that Vishal inserts through the series ranges from the pulpy opening theme (can't get Sunidhi Chauhan crooning 'Charlie Chopra' out of my head), Sunidhi and Rekha Bhardwaj's pensive mood pieces in the above-mentioned moving moments, and the meditative yet suspenseful sprinkling of the tabla and the sarangi.
These desi touches of music, humour, and personalities make Charlie Chopra & the Mystery of Solang Valley a whole new experience even for those who have read the original book. And for the others, it may seem a bit overwhelming in the beginning, but would soon engulf you into its world of deceit and empathy. Empathy, because none of the suspects are seeking power here, they're only trying to get by through tough times.