Rahasya Movie Review
50% of the star-rating additional for the sheer wealth of acting ability that Manish Gupta's polished certainly shot whodunit tosses forward, with Kay Menon helming the homicide puzzle as a walnut-gnawing CBI officer on the trail of the homicide of a young lady, who is slaughtered in her swanky home while her specialist father was smashed in the following room.
No no...don't go away! This is not the shocking Aarushi Talwar homicide returned to and sensationalized on celluloid. Executive Manish Gupta, who has prior made a solid yet rough film on ragging, Hostel, keeps the procedures on a level. Taking the Talwar disaster as a take-off point, author chief Gupta has woven an unpredictable whodunit with enough wanders aimlessly to keep us speculating about the killer's personality till the very end.
The executioner's character, when uncovered, is not so much startling yet in any case stunning and all the more imperatively, persuading.
Whodunits in Bollywood regularly fumble in their end-amusement. Not Rahasya. Gupta keeps the story going in a consistent stream and at a lively pace. The shots are cut deftly. Proofreader Suresh Pai gives the wide exhibit of characters sufficient space to move around yet never permits them to exceed their welcome.
This tension here generally relies on upon the viability of the on-screen characters. Furthermore, here's the place Rahasya truly scores. Kay Menon as the wry investigative officer battling off his wife's tireless requests to get degenerate, conveys a gigantic engagingess to his character. His character Sunil Paraskar is a man who survives the hardships of a difficult employment by splitting brutal jokes about himself as well as other people.
There is a grouping where a character inconspicuously tries to offer money related satisfaction to Paraskar.
"You aren't attempting to pay off me by any chance are you," Kay's eyebrows curve menacingly. At the point when the enticement is swiftly pulled back, he snarls: "Ah, a miscommunication."
Such snippets of delicious cleverness ought to have been show all the more regularly. To a great extent, Rahasya settles on an overstated feeling, temperament and treatment. The mood melodies by Ranjit Barot is fabulously repressed, more suggestive than illustrative. Be that as it may the on-screen characters' voices are over-named and over-punctuated.
Especially grinding on the sensory system is that magnificent performing artist Ashwini Kalsekar, who as the dead young lady's caretaker, cries, wails, groans and wails all through the film.
We just about wish for one more murder to happen.
In any case the performers regardless spare the day. Other than Kay, who is astoundingly unobtrusive, Tisca Chopra as the dead young lady's mom and another on-screen character Nimai Bali as a corruptible cop, develop triumphant. Mita Vashisht as a seething secretive TV performer in revealing cholis endeavors to be what was once portrayed as the femme fatale. Issued her decision of partner for the film, Ms Vashisht winds up as all smoke with no flame.
Splendidly, the executive shoots Mumbai's underbelly - the chawls, slender paths, toilets and nearby prepares - with incredible warmth. Faroukh Mistry's cam wanders the city fretfully. The long shots of the city waking from uneasy sleep each morning converge into the minute perspective of the damaged gang.
This is a dim, frantic, vile, gutsy and holding thriller which may not tilt you to the edge of the seat. At the same time you would like to know who killed the teenaged young lady Ayesha Mahajan.
The answer won't satisfy you without a doubt.
Chaotic lives, ignoble connections, treachery and reprisal gone through the veins of the film. Barbara Cartland would have scowled. Anyhow Agatha Christie would have definitely affirmed.