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With Johnny Gaddar (2007), Sriram Raghavan came up with a pulpy reminisce of 70s, similarly Andhadhun strikes as a pulpy wicked crime thriller. In a peculiar sequence, blood and wine gets embroiled and so is a blind piano player in a murder. Sriram Raghavan presents a humorous connotations of underlying darkness (with a curve). The black-and-white themes are sprouted across whether the piano keys, a cat or a chess board on the table emerge as elements which later ply the plot. Andhadhun is the cinematic symphony of writing and witnessing a thriller, where grey rises in the realms of black-and-white.
Pune is an unexplored city in Bollywood, Sriram Raghavan has been exploring it ways possible (in Johnny Gaddar & Badlapur); especially, the heritage and cosmopolitan nature of the city. There’s edginess to the environment of Pune which adds coldness, it’s a slow burner – as yellow tints and saturated colour palette affect the mood in taut ways; Cinematographers K. U. Mohanan (Additional Cinematographer: Rajeev Ravi) mindfully frame, there’s not a wasted frame which looks void or doesn’t rouse the plot. Amit Trivedi’s soulful theme tracks emotions amidst the chaos with a diligent mood. There’s an extravagant and historic utilisation of Mozart’s 5th Symphony, it’ll leave you in edgy beats.
Andhadhun steps beyond being a whodunit or whydunit thriller by constantly twisting and engaging, a rare feat in an understated genre in Bollywood. Writers (Raghavan, Pooja Surti, Arijit Biswas & Yogesh Chandekar) put predictability and trust at stake, with director Sriram Raghavan’s audacity of intricately presenting a taut thriller. It tickles intellectual stimulation with meticulously designed frames (also in terms of Costumes and Production Design), one needs to keep an eye open throughout. It’s witty as well as intelligent while providing wholesome entertainment.
Ayushmann Khurrana’s post-interval scene is an astounding evidence of a phenomenal performance. Tabu is like an old wine; the more old, the more relishing and exquisite it tastes. Radhika Apte is like a cherry on the top while Chaaya Kadam, Zakir Hussain and Manav Vij lend a stellar support.
It’s like a symphony, the more patient and attentive you’re, the more it submerges within. Doesn’t have a racy pace and a deliberate chaos might act as a speed-breaker for a seamless viewing. But then, like symphony isn’t everyone’s cup of tea – Andhadhun adheres to the attentive viewer. It’s the pulp which thoroughly keeps you at edge-of-the-seat.
Release: 05 October, 2018
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