Mold: Abhishek Bachchan, Chitrangada Singh, Paran Bandyopadhyay, Pavitra Rabha, Barun Chanda, Vishwanath Chatterjee
Director: Diya Annapurna Ghosh
Rating: 2.5 stars (out of 5)
A man with a past he can’t remember. A film from a past that we cannot forget. Together, they should have immediately captured our imagination. In the first trimester, they do approx. And then, a degree of monotony sets in and surrounds the film. No bob biswas Neither the thriller written by Sujoy Ghosh nor Bob Biswas, the killer helmed by Abhishek Bachchan, can hold a candle to their respective pioneers.
bob biswas, a spin-off from the character who was perfectly portrayed by Saswata Chatterjee in 2012’s Unforgettable Story, is a hopelessly pale figure who replicates the chilling effect of the original killer on audiences. With an entire movie dedicated to him and his tangled intentions, Bob pretty much has riding on him. He often gets burdened.
I have little bob biswas (Except for the character of Kolkata and the wider dimensions of the neighborhood and dark alleys) which is deliberately designed to miss the key elements from which the story was built. That is, in a way, it works to prevent the film from being a mere story followup.
bob biswasStreaming on ZEE5 has its own slow-paced rhythm, with blazing action. Some parts of it are particularly watchable, even intermittently entertaining. However, the end result is somewhat overwhelming.
First time director Diya Annapurna Ghosh has given a sleek and stable film. Still, it’s not as persuasive and inspiring as the cinematic work that spawned the eponymous character.
The hero has no memory of the past. Audiences have fond memories of Sujoy Ghosh’s Vidya Balan-led story. Comparisons, even if disgusting, are inevitable. We look for the same kind of frisson in this story woven around one of the supporting characters, who gained his own life and logic in the 2012 film. Expectations are largely unfulfilled.
that is not to say bob biswas Nothing is going for it. It is a well crafted film. It has its share of striking moments. The screenplay centers around a banned drug called Blue, which helps students deal with their exam blues. Bob gets sucked into the world of peddlers.
After eight years in a coma, Bob returned to a ‘normal’ existence. He is unable to remember anything that happened before an accident that cost him the battle. He unknowingly sneaks into the Kolkata underworld and falls into the dangerous conspiracies of ruthless drug dealers, corrupt policemen and their violent henchmen.
After killing a criminal and his accomplices outside a seed bar, Inspector Indira Verma (Tina Desai) is on the hunt for the killer. Bob is on his radar.
The man now has a wife, Mary (Chitrangada Singh), a daughter, Mini (budding artist Samara Tijori) and a school-going son, Benny (Ronith Arora). He also gets back his old job as a life insurance agent, although if logic is to be strictly enforced, it is assumed that he has no memory of what the job entails.
The past follows him and, halfway through the film, he begins to recognize parts of it. One such flash deals with a man he killed in his pre-forgetful stage and reveals something so important that it’s almost like a mini-climax that has sprung up too quickly. In another, Bob stumbles upon currency notes that he had put away years ago only to forget where he had put them.
Like Bob, teenage Mini, who is preparing for her medical entrance exam, has a problem with her memory. To defuse the rising tension, she keeps popping the blue pills that rage among young people under pressure to do well academically. Bob has little time to attend to family matters, although the film is determined to humanize him. The police and criminals follow his path and lead him into their universe – before he can settle his life and mind. He is completely indifferent but plays along. He asks a cop who knows more than him: “I’ve done this work for you guys before” (Have I done this kind of thing for you before)?”
A mysterious old pharmacist Kali Krishna Paul (Veteran Bengali film, television and theater actor Paran Bandyopadhyay, who casts the lead actors here and there is an eternal chatter) helps Bob bring back the life he left behind.
Kali Da, as Bob calls the smooth-talking chemist, provides him with the means he needs to do his ‘master’ bidding. ,I don’t remember anything but want to start work again (I don’t remember anything but I have to start my work again)”, says Bob. Kali da the mythical serpent Kaliya, a creature so full of poison that it was doomed to be destructive and Lord Krishna had to subdue him.
Is Bob palpable? He hopes to leave his past behind him and lead a stable, uneventful life. But drug dealers – Ustad (Kaushik Raj Chakraborty) and Bubai (Purab Kohli in a special appearance) – and two Special Branch cops – Jishu (Bhanu Uday Goswami) and Kharaj (Viswanath Chatterjee) – drag him into situations that make him look like people. See you shot. Dead without blinking.
Bob’s cold, clinical approach to the act of murder lies, of course, in his inability to remember why he is doing what he is doing. He simply obtains a picture on a flip phone handed to him by two policemen, searches for the man he has been ordered to kill, and pulls the trigger without betraying any emotion.
The protagonist operates himself like a wound-up automaton, oblivious to the grave danger that he walks out with a gun in his bag every time. The audience knows he is putting himself at serious risk; Bob himself has no idea. Weirdly, we don’t feel any real tension despite being aware of Bob’s vulnerability.
Their relationship lacks constant intensity – with his wife, his son, his daughter, a pastor (Barun Chanda) who is his moral guide and Dhonu (Pavitra Rabha), the owner of a roadside noodles shop, who seeks Bob’s help. Grateful to them. Once extended to him – prevents us from developing any concrete idea of the turmoil in Bob’s mind and heart.
The lead actor uses a rocky scene, a pair of gaudy eyes, and a shaky gait to convey the character’s hazy state of mind. Despite all the efforts, Abhishek Bachchan’s bob biswas Never jumps off the screen.
The director, aided by cinematographer Garrick Sarkar, makes a good fistful of using the technical resources at his disposal. But the film’s surface gloss is unable to paper over the lack of critical performance and power in the plot. Both seem extremely hardworking, making bob biswas In a tame, middle case.