Dawshom Awbotaar

The main thing about Dawshom Awbotaar is the all around consciousness of Bengali audience regarding a Srijit Mukherjee film recently that its gonna be either mediocre or bad, there may be a handful of conformist Srijit fans who still believes in him to return to his prime.

Even Srijit is aware of his lost brilliance and his inconsistency, but still Dawsham Awbottar manages to milk the nostalgia and the cult following the film has for being a prequel to his two previous films with the iconic characters.

Srijit doesn't even try to pen a consistent crime thriller; it is a deliberate negligence in the script department i.e he is not even pretentious but downright casual. The film essentially belongs to buddy cop genre and an exercise in making the two leads as iconic as possible, which surprisingly works very well. The relentless razor sharp funny banters between the characters of Anirban and Prasenjit are possibly one of the better written dialogues from Mukherjee in recent years, the power dynamic, and the diversity in the characters all fit in to feed the audience with some cult characters in the near future if there is a sequel.

Jishu Sengupta as antagonist has a certain world weary persona which was surprisingly given very little screen time, as I said already the main focus has been the cop duos, the film would have worked much better if a more detailed character arc was given to him. Jishu tries to embody his character very well, but with the protagonists being so larger than life, the treatment is surprisingly subdued for the antagonist. Though I would say some of the murders are staged well, especially the mythological connections they have.

It's evident there were no budget contrivances for this film, as the color grading fits in many scenes .The stunts were sharply performed, except those exhausting slow motions. There is a car chase with some brilliantly crafted inside the car and outside the car sequences.

The unhealthy obsession of Srjit Mukherjee in forcing gimmicky hand held sequences in filming a quarrel is also present here, and if it's been just passable or tolerable in his other films, here it is down rightly nauseating and redundant. What is repeatedly forcing him to obsess over his inconsistent editing skills, its a mystery.

Rarely Srijit has written a good climax; in here he is trying to replicate "Baishe Shrabon" in various ways which seems so half baked, so much out of place that the film completely falls flat due to the inconsistency in the end.

The Jaya Ahsan subplot doesn't work; neither does her arc in the story but her performance and chemistry with Anirban try to bandage the obvious gaps she had in the character.

Its remarkable though how Prasenjit fits in the role of a foul mouthed police officer even though 12 years have passed since 'Baishe Shravan' , his performance certainly is a prime highlight among the few positive points the film has.

Anirban has much more to do, as his screen time in 'Vinci Da' was much shorter .Here he is one of the leads, he has utilised that chance and with the help of shared chemistry with Prasenjit has given a crackling performance worth remembering for.

At a certain point in the film, the serial killing aspect took a backseat and waited for the protagonists to culp with their personal mismatches, tragedies and soon after everything comes to a truce between them, the killing starts.

The director may have been obsessing over his characters a little too much than it should be which is an evident black spot in how a cop thriller is written. If there is another film from this franchise which eventually is bound to happen, this obsession may worsen the narrative, or literally butcher the franchise from its cult following too.

The introductory scenes of the lead cops were staged like a mass film; where there was no absolutely need for to do so. The headache inducing slow motion totally shifts the expectations of the people who loved the way they are introduced in the first films they appear. It seems that Srijit was unsure of how to introduce his characters, so based on the recent obsession of audience regarding mass films, he chose to do this.

In the first ten minutes of the film, it makes you weary of those forced slow motions; some of them may also perceive a wrong idea of how this film turns out in the long run.

The film is certainly an an entertaining one, much more than his work on the web platforms. I wouldn't mind seeing more films made on the characters, as he focuses more on the buddy cop aspect rather than the central mystery,its entertaining and disappointing at the same time. But when it comes to a Srijit Mukherjee films,we are accustomed to being disappointed since last few years but it is since a long time,he has made an entertaining one so credit where its due.

I would say, during these glorious festivities Srijit Mukherjee's Dawshom Awbotaar is not totally a waste of two and a half hours, atleast from the heat and sweat of the pandel hopping crowd outside, it's a decent time spent inside.

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.

Every great thing has to come to an end at some point. '22 Se Srabon' should have remained a standalone film. There was no need for the sequel, 'Dwitiyo Purush,' or the prequel, 'Dawshom Avatar.' It seems that 'Dawshom Avatar' was primarily created for profit by capitalizing on nostalgia. Unfortunately, the film fell short in many aspects, except for the songs and acting. The use of slang in the movie felt forced, and the action scenes were quite illogical. The script appeared underdeveloped, and the editing was subpar. This resulted in the film being quite tedious to watch. 'Dawshom Avatar' doesn't quite fit into the thriller or drama genre; it feels more like a money-making endeavor. It might be a good time for Srijit Mukherjee to take a break and return with a stronger, more thought-out script. If you find yourself with no other movie options during this festive season, you might be better off watching this movie in the theater to catch up on some rest. I wouldn't recommend this movie, even for an OTT platform.

Dasham Avatar movie is not as good as Baishe Shravan and dwitiyo purush movie (Baishe Shravan movie itself is a history of Bengali thriller cinema ) but it is much better than other Bengali suspense thriller movie. Story writing is very weak. Can Guess Villain Jesus Sengupta character needed better build up Prosenjit Chatterjee's Anirban BhattacharyaSlow motion effect in the entry scene which is very common in South movies would have been good if not but Prasenjit Chatterjee and Anirban Bhattacharya acting 100 100 Jaya Ahsan's acting was good but needed to be better this movie is ground and BGM is not good at all the good points of this movie are very catchy dialogueJesus Sengupta Anirban Chatterjee's acting and songs have a new meaning and This movie has a plot twist which is quite good.

Let us be honest, "Baishe Srabon" was an iconic film. It was nothing short of a landmark in Bengali cinema that changed the industry's ideology forever.

It was too big of a task to replicate the success and the impact (both literally and figuratively), let alone surpass, even for the writer-director himself. I don't think anybody counted on that, although admittedly, we kept our fingers crossed and hoped for the best, including me, a fan of 2011's original.

Everything was going well for the first two acts. I was delighting in the friendly banters between the Probir-Poddar pair and their sparkling chemistry. I was also intrigued by the investigative parts of the murders that were taking place in succession. I was hooked on the ride.

Then, the third act happened, and everything went awry; it seemed like Srijit Mukherji was in a hurry and rushed up to the conclusion, resulting in a climax which raised more queries than gave us clear-cut answers.

The story needed, or rather demanded, a suitable finale, which Mr Mukherji failed to provide, therefore leaving a sore taste that may linger for days to come!