Cast: KanganaRanaut, Vir Das, Piyush Mishra, Kumud
Mishra
Direction: Sai Kabir
Rating: ***
Sai Kabir’s ‘Revolver Rani’ reeks of confused storytelling. At the onset it feels like a comedy but as the plot thickens, you realize that this is a dark film. The characters have cruel intentions and the protagonist is a mere pawn.
Alka Singh’s (Kangana Ranaut) political ambitions and her rivalry with the opposition seem to form the crux of the narrative in the first half. There are moments of genuine humour as Alka takes on her enemies, guns blazing, perched atop a Pajero. There is equal measure of fun to be had when her opponents futilely plan on taking her out.
Kangana’s role demands her to essay contrasting emotions and she competently delivers with considerable ease. Her only weakness is her conniving boyfriend Rohan Mehra (Vir Das) who aspires to become a Bollywood actor and is hoping that Alka will finance his vain ambitions.
Vir Das seems to struggle with his character. It is completely evident that he has no clarity about how he should have approached this role. In his coke-snorting avatar, he does come across as loathsome by the end of the film but he misses many a step during the plot progression.
Sai Kabir’s characters are layered and interesting, in fact, the supporting characters are viciously opportunistic. The problem is as we begin to peel the layers, the narrative begins to lose coherence. Post-interval as the film tries to deal with the neatly introduced twist in the tale, the audience is left tograpple with the sudden developments.
Rohan Mehra (Vir Das) and Bali (Piyush Mishra) are complex characters and a nuanced execution would have made them a pleasure to watch. The impact is however,diluted by an amateurish approach.
Direction: Sai Kabir
Rating: ***
Sai Kabir’s ‘Revolver Rani’ reeks of confused storytelling. At the onset it feels like a comedy but as the plot thickens, you realize that this is a dark film. The characters have cruel intentions and the protagonist is a mere pawn.
Alka Singh’s (Kangana Ranaut) political ambitions and her rivalry with the opposition seem to form the crux of the narrative in the first half. There are moments of genuine humour as Alka takes on her enemies, guns blazing, perched atop a Pajero. There is equal measure of fun to be had when her opponents futilely plan on taking her out.
Kangana’s role demands her to essay contrasting emotions and she competently delivers with considerable ease. Her only weakness is her conniving boyfriend Rohan Mehra (Vir Das) who aspires to become a Bollywood actor and is hoping that Alka will finance his vain ambitions.
Vir Das seems to struggle with his character. It is completely evident that he has no clarity about how he should have approached this role. In his coke-snorting avatar, he does come across as loathsome by the end of the film but he misses many a step during the plot progression.
Sai Kabir’s characters are layered and interesting, in fact, the supporting characters are viciously opportunistic. The problem is as we begin to peel the layers, the narrative begins to lose coherence. Post-interval as the film tries to deal with the neatly introduced twist in the tale, the audience is left tograpple with the sudden developments.
Rohan Mehra (Vir Das) and Bali (Piyush Mishra) are complex characters and a nuanced execution would have made them a pleasure to watch. The impact is however,diluted by an amateurish approach.
It’s obvious that Sai Kabir is completely
influenced by the Anurag Kashyap and Tigmanshu Dhulia school of filmmaking. What
he lacks is the finesse and clarity with which they present their craft. The
premise is unique, there is spontaneous humour but the pace and the treatment is
labored. The music shows initial promise but it lacks the tempo of an Amit
Trivedi score.
Expectations from a Kangana Ranaut film, post ‘Queen’
are immense. Kangana does not disappoint and that’s why it is a pity that she is
let down by a story that on paper must have held a lot of promise.
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