Dawshom Awbotaar

Director #SrijitMukherji's latest product from his Cop Universe and from the house of #SVF, jointly delivered a much-hyped but a thoroughly disappointing melodramatic daily-soap kinda experience. The first half was no-doubt fast-paced and power-packed, but on the contrary, the second half lacked its pace and the screenplay went totally haywire. Music is equally awful, and so is the editing. The second poorest release after Bagha Jatin. The camera work is fairly moderate. But over-usage of slo-mo and Drone shots seems overrated. The plot is predictable and the screenplay is neither edge-of-the-seat, nor gripping. Both #ProsenjitChatterjee & #JisshuSengupta delivered good performances, #AnirbanBhattacharya is fair too, while #JayaAhsan tried her best, but all her efforts to cope up with the predictable plot rendered futile. However, its a one-time watch movie. Moral of the story, over-usage of cuss words and intimate scenes along with titillating the audience with previous franchises' hints couldn't save the drowning ship, when the premise is itself weak.

The screenplay of the movie is very well crafted. But to attract the younger generation, it is not desirable to use excessive profanity. The camera work deserves praise at several places. The camera work deserves praise at several places.

The movie starts well but gradually loses its momentum due to being too long. And lost in Kanagli after the break. Those who watch the movie will understand the end of the movie before long. Very average quality movie. And no song except Rupam's song could make a mark in my mind.

Jaya's acting is very average. Such a powerful actor as jishu was not used properly.

The shared universe is a gimmick. This film can't be a prequel because it creates major loopholes for the other films in the franchise. If you consider that this Probir and Poddar aren't the same Probir and Poddar we have seen before and that this is an alternate take on their characters happening in some other timeline, then it's fine. Coming to the story, Srijit has mastered how to ruin a well-going thriller. A twist everyone saw a mile away coming, but major plotholes there too. Injustice done to Jisshu's character, whose character could've been one of the memorable villains or anti-heroes, is watered down to a forgettable generic villain or psychopath. Performance-wise, Prosenjit Chatterjee and Anirban were excellent and the only redeeming factors in this movie. The camaraderie is presented well. Jaya wasn't in her best form. Jisshu did fine with whatever was given to him. Cinematography and BGM are fine, but too much use of slow motion gets on the nerves. And the CGI at the end is laughable. Shout out to the editor for that crazy cut during the car chase scene, but again, overuse of slo-mo kind of ruined the whole scene.

"Dawshom Avatar," the much-anticipated prequel to the blockbuster "Baishe Srabon" from 2011, falls disappointingly short of the expectations set by its predecessor. Srijit Mukherjee, the acclaimed director of both films, seems to have missed the mark this time. Let's dive deeper into what went wrong.

The film begins with Prasenjit Chakroborty's (Probir) first appearance on the screen, which unfortunately feels underwhelming. His portrayal seems cheap and cringe-worthy, his running appears awkward, and his overall demeanor comes off as aged. Anirban Bhattacharya (Bijoy Poddar) is depicted as a comic character, a stark departure from the complex character he portrayed in "Vinci Da." These portrayals certainly don't do justice to the characters Srijit Mukherjee built in his previous work.

One of the major drawbacks of "Dawshom Avatar" lies in its dialogue delivery. The dialogues come across as cheap, cringe, and recycled from previous movies, which is disappointing for a film of this caliber. Additionally, the plot appears weak and poorly constructed, almost as if it was hastily written. The audience deserves better than what feels like a script generated by an AI chatbot, like ChatGPT.

However, it's not all doom and gloom. Jishu, who plays Bissorup, shines with his excellent acting. His performance stands out amidst the sea of mediocrity. Jaya Ahsan (Maitrayee) delivers an average performance but struggles to elevate the material she's given. Prasenjit, despite his best efforts, and Anirban, are both limited by the subpar script and mediocre dialogues.

The film's attempt to incorporate elements of Sanatan Mythology and dispel common misconceptions is noteworthy, but it seems the audience struggled to grasp most of it. Additionally, subtle references to "Baishe Srabon" are scattered throughout, but they fail to provide a coherent link between the two films.

What disappoints most is the weak storyline riddled with plot holes, the comical portrayal of the once imperious police officer, Bijoy Poddar, and the unnecessary references to previous films. The side characters from "Baishe Srabon" (2011) appear aged and overweight, making their efforts to reprise their roles less convincing.

In the end, "Dawshom Avatar" leaves us with a line from "Baishe Srabon" that seems fitting - it is, indeed, "Kacha hathe lekha, baje bangla thriller er script." This film falls short of the standards set by its predecessor, leaving fans of the franchise wanting more and wondering what could have been.

"Dasham Avatar," Srijit Mukherji's 2023 Bengali thriller, arrived with a significant weight of expectation, not least because it promised to unite two of his most iconic police characters: Probir Roy Chowdhury (Prosenjit Chatterjee) from "Baishey Srabon" and Bijoy Poddar (Anirban Bhattacharya) from "Vinci Da." This "cop multiverse" concept, while exciting on paper, ultimately proved to be both the film's greatest draw and its most significant challenge.

The premise is immediately intriguing: a serial killer terrorizes Kolkata, with each murder meticulously staged to mirror the ten avatars of Vishnu. This mythological underpinning provides a fertile ground for a dark, intellectual thriller, and Mukherji, known for his intricate plotting, certainly starts strong. The initial acts are a testament to his directorial prowess, skillfully building suspense and introducing the compelling dynamic between the seasoned, often cynical Probir and the sharp, unconventional Poddar. Their camaraderie, a blend of witty banter and professional respect, is a definite highlight, carrying much of the film's early momentum. Prosenjit Chatterjee, reprising his role after over a decade, slips back into Probir's skin with effortless charm, while Anirban Bhattacharya continues to impress as the quirky Poddar.

Cinematographically, "Dasham Avatar" is a triumph. Soumik Halder's lens paints a vivid and often haunting portrait of Kolkata's underbelly - its labyrinthine alleys, bustling streets, and the interplay of light and shadow, all contributing to an immersive and atmospheric viewing experience. The visual storytelling elevates the film beyond its narrative shortcomings, showcasing a city that is as much a character as the protagonists. The meticulously staged murders, with their mythological connections, are visually striking and contribute to the film's chilling aesthetic.

However, where "Dasham Avatar" truly falters is in its execution, particularly in its third act. The film's ambitious narrative, initially so promising, begins to unravel, leading to a conclusion that many critics found rushed, incomplete, and unsatisfying. The intricate build-up of suspense and investigation gives way to a hasty climax, leaving viewers with unresolved questions and a lingering sense of unexplored potential. This abrupt ending significantly undercuts the film's impact and prevents it from reaching the heights of Mukherji's earlier thrillers like "Baishey Srabon" or "Chotushkone." The attempt to replicate the narrative twists of "Baishey Srabon" feels half-baked and out of place, ultimately diminishing the overall experience.

Moreover, the integration of the "cop multiverse" isn't entirely seamless. While the pairing of Probir and Poddar is enjoyable, the necessity of linking "Vinci Da" feels somewhat forced, with critics noting a lack of genuine connection or justification for Anirban Bhattacharya's character to be Poddar from that specific film. It often feels like a deliberate attempt to capitalize on past successes rather than a natural progression of a shared universe. Certain directorial choices, such as an overreliance on slow-motion sequences during confrontational scenes, also drew criticism for being gimmicky and even nauseating in some instances.

Despite these flaws, "Dasham Avatar" is not without its merits. The performances from the lead actors, particularly Prosenjit Chatterjee and Anirban Bhattacharya, are commendable. Jisshu Sengupta, as the antagonist, also delivers a strong performance, both in and out of his disguises. The film's soundtrack, featuring contributions from Anupam Roy and Rupam Islam, adds another layer of emotional depth. The commitment to visual detail and the initial promise of its unique premise make it an engaging watch for a significant portion of its runtime.

In essence, "Dasham Avatar" is a film that shines brightly in its individual components - stellar cinematography, strong performances, and an intriguing concept - but ultimately struggles to coalesce into a cohesive and wholly satisfying whole. It's a cinematic endeavor that, while visually arresting and entertaining in parts, leaves a sense of untapped potential, falling short of the high standards set by its director's earlier works in the thriller genre.