malabarspiceghk

The most irritating aspect about this webs series is the constant loud background score, especially in episode 1. It robs of the suspense which is somewhat present in the episode. The score is loud and jarring and at most times drowns the dialogues. In the acting department, barring Ashwin and Bilas Nair the other are just intolerable. The direction is simply amateurish. The actress who plays the role of Sumitra is the worst of the lot. She is given such a powerful character but she is botches it bigtime. When I was expecting a load of emoting from her in some scenes she just falls flat. She clearly has not be able to come to terms with the situations of the Character. Besides, she doesn't seem to have the looks of a powerful corporate honcho, she looks more like a village belle. Overall, a very disappointing fair by a renowned channel which has not done a proper sanity check before releasing the web series.

Monk's quirky behaviour in this episode reached the zenith of tolerance. The mixture of his frequent and stupid behaviour and flashes of regular brilliance is preposterous. How long can the viewer tolerate such utter nonsense. The mysteries are not the best but it is not terrible either. He doesn't seem to get cured of his ailment despite taking extensive therapy sessions with a doctor. How long can the producers pull of this quirky behaviour without irritating the viewer? Beats me. This is certainly one of the worst episodes in the series because the actual investigation takes place remotely.

This is one of the better episodes despite the distraction provided by Inspector Brackenreid and his gang of football fans. Apart from a tightly scripted episode it also features a commendable homage to one of the greatest action scenes every filmed on celluloid, the staircase scene. This scene has been replicated in various guises by some great and not so great directors in the past (one example which comes to mind is from "The Untouchables", by Brain DePalma). In this episode Eleanore Lindo achieves a near perfect copy but it less dramatic in its approach than the original. The scene in question is from the 1952 Russian classic film Battleship Potemkin directed by Sergei Eisenstein.