SoumikBanerjee1996

If your main objective was to give the audience a good scare through jump scares, it would have been essential to put in some extra effort and explore fresh approaches. At the very least, a few tweaks to the tried-and-true conventions could have made a difference.

Instead, what we got was a lazy rehash of the same old formula, relying heavily on every known trope and cliché of the genre, all without even attempting any sort of subversion.

The outcome? A horror feature that fails to intimidate, let alone truly scare.

I came in with high hopes, having somewhat enjoyed the first instalment, and was really hoping they would build on that success. Unfortunately, the quality took a nosedive, and the storytelling went completely off the rails.

I get that I shouldn't expect too much depth or sophistication from a script aimed at horror fans, but where's the actual fright? I wasn't the slightest bit scared, nor did I sense any eerie vibe or atmosphere creeping into my experience.

A shambolic misfire!

"Charulata" had all the right elements, plus Ray's undeniable technical skill, to create a compelling tale that could have explored the fragility of human emotions and the stigmas attached to particular relations bound by social norms and structures.

However, the script and limited dialogue held back its true potential, preventing it from reaching the heights I expected.

Frames and composition are impressive, as they typically are in any Ray directorial but the political pokings and character development didn't come across as clearly as I would have liked here.

What really carried the film for me was the captivating presence and dedication of the lead cast, especially Madhabi Mukherjee, as Charulata, who dominated every frame she featured in.

I did not really connect with the deadpan humor or the understated romance; I felt no attachment to the characters, or the motivations driving their respective arcs which made their journeys feel emotionally distant and flat.

Also the story's eventual transition towards political commentary, worker exploitation, societal corruption, and the moral decay rooted in generational trauma didn't quite come together for me, it all felt hollow and lacking in rhythm.

I wouldn't call it pretentious, as I'd still like to think the creators had naive intentions; it's just that their message didn't hit home for me at all.

The bizarre situations or specifically the oddity surrounding the core subject is what kept my interest throughout this frustratingly long ordeal.