Kadak Singh

Aniruddha Roy Chowdhury's movies are famous for their family dramas. This is the first time I have seen any of his thriller movies. But the thriller did not go well.

The first reason is that thrillers have a pace that is missing here. The director has lost the momentum of the movie by giving more importance to the acting. The second reason is that the ending of the movie is very predictable. The last scene is similar to Sharadindu Banerjee's writing.

Pankaj Tripathi's acting is good but doesn't quite go with the character. Jaya Ahsan's performance was very short. Comparatively Sanjana and Parvaty's performances deserve praise.

Two songs in the movie are very good with Shantanu Maitra's music. Arghyakamal Mitra's work is good in this movie like all movies.

This may have seemed like an interesting premise, but the execution is anything but. The actors, especially Tripathi and Thiruvothu who can both be relied upon to give us joy, are comprehensively let down.

The role that Pankaj Tripathi plays does not push him out of his comfort zone but he does just enough to hold the film together. The actors around him - Jaya Ahsan, Sanjana Sanghi, Dilip Shankar and Paresh Pahuja - have largely reactive roles, confined as they are to closed spaces physically and creatively. Not outright humdrum, Kadak Singh would have had far greater tensile energy had its edges been sharper.

The film's momentum picks up in the last half hour as it connects all the dots and Srivastava closes in on the main culprits of the financial scam and the mystery behind his colleague's suicide. But by then one may have already guessed some of the suspects in the game. However, on the whole 'Kadak Singh' does qualify as a decent one-time watch over the weekend.

Are you a cinephile like me who has, at some point or another, rewritten/reshot/recut a movie in your head right after watching it? If you are, you'd probably do the same after watching "Kadak Singh" too.

Even with an acclaimed director, an award-winning editor and a talented BGM composer working on this film, I fail to comprehend how a story with such potential could go so wrong on screen. We could've had a taut, darkly humorous thriller made up of a plethora of mysterious and intriguing characters (played by great actors) had the narrative and the editing allowed the same.

Disappointing. Frustrating.

The only reason I started watching the movie was because the lead actor is one of the few whose acting I respect.

The movie keeps you grasped till the end (not the Breaking Bad kind, but fairly) although the end was done all of the sudden. It felt like they went short of funds, or realised that its already reached two hours and needed to end :)

Pankaj Tripathi kept his promise and lead the movie decently, the script could definitely have been better. Thankfully it was not the Hero, Heroine, Romance, Villan kind (I usually don't watch the trailers of a movie).

Definitely one time watch, when you have time to kill.

In cinematic storytelling, the depiction of the main criminal isn't always straightforward. Directors use various techniques to create ambiguity, leaving viewers in suspense or confusion about the true identity of the antagonist. This deliberate ambiguity heightens suspense, engages the audience, and encourages them to pay closer attention to details throughout the movie.

One method used to obscure the main criminal's identity involves introducing multiple characters who seem equally suspicious or potentially guilty. These characters may possess conflicting motives or behave in ways that suggest their involvement in criminal activities, leaving viewers unsure about whom to consider as the main antagonist. Such storytelling techniques often keep viewers guessing until the movie's climax or final revelation.

Another strategy directors employ is the use of unreliable narrators or perspectives. Sometimes, the story unfolds through the eyes of a character with a subjective or biased viewpoint, clouding the audience's ability to discern the true antagonist. This narrative technique intentionally manipulates perceptions, leading viewers down different paths of suspicion and creating a sense of uncertainty about the main criminal's identity.

Additionally, some movies deliberately withhold crucial information until the very end. Clues, hints, or critical plot details necessary to identify the main antagonist might be strategically revealed only in the movie's closing scenes. This delayed disclosure challenges viewers to piece together information from earlier scenes retrospectively, reshaping their understanding of the characters and the unfolding events.

Furthermore, certain films explore the concept of moral ambiguity, blurring the lines between good and evil. In such narratives, multiple characters might exhibit shades of grey, making it difficult to categorize any one individual as the definitive main criminal. This deliberate blurring of moral boundaries adds complexity to the storytelling, forcing audiences to contemplate various perspectives and motivations.

Movies that intentionally leave the main criminal's identity ambiguous often aim to create an immersive and intellectually stimulating viewing experience. They prompt audiences to engage in active interpretation, discussion, and speculation, fostering a deeper connection to the storyline and its characters.

Ultimately, the deliberate ambiguity surrounding the main criminal's identity serves to challenge traditional storytelling conventions. It encourages viewers to embrace uncertainty, consider multiple possibilities, and actively participate in deciphering the intricacies of the plot. By leaving room for interpretation and debate, these films invite audiences to become more involved in the narrative, fostering a more immersive and thought-provoking cinematic experienc.