Tag: Zee 5

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Crime Beat: A competent investigative drama

‘Crime Beat’ streaming on Zee 5 does a fine job in showcasing the cut throat world of journalism. The integration of the Commonwealth Scam and the characterization of Rahul Bhatt as a gangster/ Robin Hood figure gives the show some of its best moments.

Crime Beat directed by Sudhir Mishra and Sanjeev Kaul is the latest addition to the trend of novels being adopted as web series.

For those who are not aware the core plot of Crime Beat is based on The Price You Pay written by Somnath Batabayl.

Somnath Batabyl is both a journalist and a writer. He worked as a special correspondent for NDTV in Calcutta for two years. He is also a recipient of The Dhiren Bhagat Award for investigative journalism.

His novel focuses on the journey of a rookie reporter Abhishek wanting to make it big in the world of investigative journalism. Apart from the protagonist another very important character in the book was that of Babloo Shankar a wanted gangster who targets the rich operating as an outlaw on the lines of Robin Hood.

Synopsis

In Sudhir Mishra and Sanjeev Kaul’s adaptation of the novel Saqib Saleem plays the role of Abhishek Sinha, a very determined reporter from Banaras wanting to make it big.

In the process of establishing his identity, he comes across a major scoop involving a wanted fugitive Binny Chaudhary (a charismatic Rahul Bhatt). As Abhishek dives deeper into the case he unravels some shocking secrets about a huge financial scam involving the Commonwealth Games.

Saba Azad plays Maya, a colleague and a love interest of Abhishek. Maya too has her own ambitions of making it big as an investigative journalist. Sai Tamhankar plays the mole of Binny Chaudhary— Archana Pandey.

Archana is not your stereotypical mole; she is a very capable woman with an agency of her own. Revealing further would be a giveaway to the many twists and turns the show offers.

Strengths

Crime Beat is a thriller drama
‘Crime Beat’ is a thriller drama. (X)

A strong aspect of Crime Beat is how the two directors have depicted the power struggle among the journalists. At numerous junctures, we see a constant battle for the supremacy of getting front-page exclusives.

The cutthroat rivalry among the journalistic group is very much palpable. This has come out strongly in the dynamics between Abhishek Sinha and Maya.

Initially there is a feeling of them being a lovey-dovey couple but all this changes at a critical juncture when Maya steals Abhishek’s story on Binni Chaudhary after they make love.

Strong characterisation

The background of Saqib Saleem’s character also gives an interesting dimension. Abhishek Sinha unlike Maya doesn’t come from a very rich background. He is a small-town boy whose ambitions are bigger than his financial status. This adds a certain authenticity to the struggles of Abhishek.

Another strong aspect of the web series is that most of the characters come with shades of grey whether it is Saqib Saleem Abhishek or Rahul Bhatt’s Binni Chaudhary. Few very characters in the show are completely black and white.

Talking about Rahul Bhatt’s Binni Chaudhary, there is a lot of enigma in the way the role has been written. Binni Chaudhary isn’t your typical trigger-happy gangster. There is a sense of vigilantism about him. At no point, you can call him a good or bad person. This adds a lot of depth to the show.

The integration of the Commonwealth Games scam and how Binni Chaudhary helps Abhishek in unearthing the huge financial scams has been both well written and enacted.

Performances

Saqib Saleem in Crime Beat
Saqib Saleem in ‘Crime Beat’. (X)

Rahul Bhatt brings in a lot of charisma perfectly capturing the grey shades.  After his stellar turn in Black Warrant, this is another noteworthy performance from the actor.

Mention must also be made of Danish Hussain as Editor Aamir Akhtar. He delivers a nuanced performance as a seasoned editor. Aamir Akhtar is someone who can go to any lengths for a good story and Danish is successful in bringing out the nuances.

Sai Tamhankar as Binny Chaudhary’s accomplice adds an extra layer of intrigue with her solid act. She brings in the right amount of oomph, intrigue and menace. She looks every inch the badass woman that Archana Pandey is supposed to be.

Lastly, Saqib Saleem in the role of Abhishek Sinha also delivers a compelling act. He does a first-rate job of portraying both the ambitions of Abhishek and also the internal conflicts of a journalist caught between truth and survival.

Flaws

One major problem with Crime Beat is the undercooked love story. The professional rivalry between Maya and Abhishek is a lot more compelling to watch than their romantic moments.

Saba Azad’s characterization could have done with more meat although the young actress does do a fine job with whatever she has been offered. Also, the jump to the love scenes comes across as rather abrupt. The tonal shift is very jarring, to say the least.

Final take

To sum it up Crime Beat is worth watching for fans of investigative dramas, but don’t expect the quality of Hansal Mehta’s Scoop.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/crime-beat-web-series-review-a-competent-investigative-drama/

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Mrs review: Smashing internalized patriarchy down

Director Arati Kadav’s adaptation of ‘The Great Indian Kitchen’ is equally gripping like the original. Arati brings in small but significant changes like the profession of its male protagonist.
Mrs (Hindi), 07-02-2025, Drama, 1 hour 51 minutes, 13+, OTT
  • Main Cast: Sanya Malhotra, Kanwaljit Singh, and Nishant Dahiya
  • Director: Aarti Kadav
  • Producer: Harman Baweja and Pammi Baweja
  • Music Director: Sagar Desai, and Faizan Hussain
  • Cinematography: Pratham Mehta
  • Rating: 3.5/5

Jeo Baby’s The Great Indian Kitchen released in 2021 was a very impactful movie on internalised patriarchy. The movie focused on the lives of the women who manage our homes, the category whom we take for granted.

These women constantly put the needs of the men above their dreams relegating themselves to the kitchen. Through the story of newly married women finally breaking out of conventions, Jeo Baby held a mirror to society.

What added to the impact of The Great Indian Kitchen was also the terrific Nimisha Sajayan.

Before Mrs, The Great Indian Kitchen was remade into Tamil with another equally good actress Aishwarya Rajesh. Now you have the Hindi adaptation with the talented young actress Sanya Malhotra.

Synopsis

For those who aren’t familiar with the source material, Mrs focuses on a newlywed woman Richa (an excellent Sanya Malhotra). Nishant Dahiya takes over from Suraj Venjaramoodu, but in this movie, the profession of the male character is changed as is the setting.

A still from the film Mrs
A still from the film ‘Mrs’. (X)

Nishant Dahiya plays a gynaecologist, this adds an interesting layer something which I will touch upon later. Coming back to Mrs, Richa has a passion for dancing, she wants to make a career out of it but the role of a traditional housewife starts taking a toll. This is the story in brief.

The best part of Mrs is how Arati Kadav showcases internalized patriarchy using the kitchen and the constant cooking of food as a metaphor.

The kitchen in Mrs is more modern in comparison to the one showcased in The Great Indian Kitchen. There are more windows and also shiny appliances but the drudgery of the main character is the same.

The clash between the old and new ways has been represented wonderfully by Arati Kadav. A striking aspect of the kitchen is that although the structure here is more modern the dripping of dirty water is constant.

Just like The Great Indian Kitchen there are numerous cooking shots of the same nature but these are necessary as it gives the viewers a psychological insight.

Characterisation

Mrs is a remake of The Great Indian Kitchen
‘Mrs’ is a remake of ‘The Great Indian Kitchen’. (X)

The characterization of Sanya Malhotra coupled with her acting is another backbone of the movie. Richa is someone who starts as a lively young girl wanting to do something with her life, the initial days of her marriage flow smoothly but soon she gets stuck in a depressing cycle of pleasing her husband and father-in-law.

How this starts affecting her and the moment where she decides that enough is enough has come out wonderfully both in the writing done by Harman Baweja, and Anu Singh Choudhary along with Sanya Malhotra’s act.

Many young girls would connect to Richa’s dreams and cheer for her when she finally decides not to succumb to the vicious cycle of patriarchy.

Internalized patriarchy

A poster of the film Mrs
A poster of the film ‘Mrs’. (X)

As a society, the issue of internalized patriarchy looms large however modern people pretend to be. The theme of internalized patriarchy also comes out in the scenes between the daughter-in-law and mother-in-law.

When Richa complains about being overworked, the other woman responds with a dismissive attitude saying ‘Yeh Sab toh Sikna Hoga (You have to learn this)’

As already mentioned director Arati Kadav brings in small but significant changes. The profession of Nishant Dahiya’s character adds an interesting contrast to his behaviour while doing his job and how he is as a husband.

There are scenes of Diwakar trying to force himself on Richa not caring whether she also wants to participate in that particular moment. There is a very mechanical process adopted by Diwakar with no foreplay and build-up.

Again through these scenes, Arati Kadav makes a strong comment on the general attitude of misogynistic men.

Performances and technical aspects

Apart from Sanya Malhotra’s brilliant act, both Nishant Dahiya and Kanwaljit Singh also make a strong impact. Nishant Dahiya is completely convincing as a doctor who pretends to be outwardly respectable but is actually regressive. Kanwaljit Singh is also exceptional in making the viewers hate him.

The songs and the background score though leave something to be desired. Both these aspects stick out like a sore thumb in an otherwise powerful movie.

Final take

The last word, Mrs is highly recommended even for those who love The Great Indian Kitchen. The film is now streaming on Zee5.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/mrs-movie-review/

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Hisaab Barabar: Uneven screenplay ails Madhavan’s well intentioned fight against corruption

The performances of the central players is impactful but ‘Hisaab Barabar’ lacks the seriousness required.
Hisaab Barabar (Hindi), 24-01-2025, Comedy, Drama, 1 hour 51 minutes, 16+, OTT
  • Main Cast: R Madhavan, Niel Nitin Mukesh, and Kriti Kulhari
  • Director: Ashwini Dhar
  • Producer: KT Kunjumon
  • Music Director: Aman Pant
  • Cinematography: Santhosh Thundiyil
  • Rating: 2.5/5

Ashwini Dhar’s Hisaab Barabar has its heart in the right place. The movie wants to educate the viewers about financial scams which common men often tend to overlook.

Through the central character played by R Madhavan, the movie wants to make the viewers more aware of the snowballing effect of corruption and how we should be extra vigilant.

These themes are indeed thought-provoking but Ashwini Dhar’s treatment leaves a lot to be desired.

Synopsis

The story of Hisaab Barbar focuses on an extremely righteous railway ticket examiner Radhe Mohan Sharma (a sincere R Madhavan). Radhe Mohan Sharma is an expert at accounts, his maths never goes wrong.

One day he notices a small discrepancy of ₹27.50 in his bank account. Upon further investigation, Sharma comes across a major financial scam worth ₹2, 400 crores. This financial scam has been orchestrated by a greedy banker Micky Mehta (an over-the-top but fun Neil Nitin Mukesh).

As Radhe navigates the various layers of corruption and bureaucracy he is confronted with various hurdles both professional and personal.

The other important character is played by Kriti Kulhari, the character Poonam Joshi starts as a love interest but as the plot progresses her real identity turns out to be something else.

On the shoulders of Madhavan

Neil Nitin Mukesh in Hisaab Barabar
Neil Nitin Mukesh in ‘Hisaab Barabar’. (X)

What saves Hisaab Barabar from completely falling off is undoubtedly the sincerity of R Madhavan. As the humble ticket collector facing off corrupt businessman R Madhavan does a very good job of portraying both vulnerability and determination.

He brings an emotional heft to the role, particularly in the portions where both his professional and personal life come to a standstill.

Niel Nitin Mukesh as the over-the-top antagonist often borders on being a caricature still it is clear that the actor has had a blast.

He chews the scenery with gleeful abandon perfectly oscillating between being menacing and also raising chuckles. His performance and characterization work as a perfect contrast to R Madhavan’s grounded act. The interplay between the two characters is undoubtedly a major plus for the movie.

Kriti Kulhari as Poonam Joshi has various shades, starting off as a love interest and then to her real identity. Kriti Kulhari does a very fine job although the romantic track between her and Madhavan comes across as a major speedbreaker.

The movie’s ultimate message about a common man’s strength and how with great determination one can overcome numerous challenges is indeed admirable. It leaves the viewers with a good feeling.

Flaws

Kriti Kulhari in Hisaab Barabar
Kriti Kulhari in ‘Hisaab Barabar’. (x)

As far as the flaws go, the biggest minus of Hisaab Barbar is the tonal inconsistencies, the balance between light-hearted humour and the seriousness required leaves a lot to be desired.

The attempt to inject humour in some of the crucial scenes leaves a very bad taste, a good example of this is a major scuffle between R Madhavan and a bank employee.

Instead of being taut and intense, the entire portion is reduced to a silly gag. The film also suffers from certain filminess, the resolution to the tussle between R Madhavan’s Radhe Mohan and Niel Nitin Mukesh’s Mickey cultivates in an overtly simplistic mode.

The operation of financial crimes also lacks the necessary depth, particularly for the more discerning audience, the production values are of a very low standard. The movie’s low budget is clearly visible in the tacky cinematography of Santhosh Thundiyil.

Final take

To sum it up Hisaab Barabar is a decent watch if you are looking for a time pass movie and are an R Madhavan admirer.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/hisaab-barabar-movie-review/

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Vikkatakavi – The Chronicles of Amaragiri web series review: An engrossing, first of its kind Telangana detective show

In spite of some rough edges, director Pradeep immerses the viewers into the world of Amaragiri. The mixture of Telangana folk beliefs with the subplot of bio war enhances the narrative. Promising young talent Naresh Agastya delivers another solid act
Vikkatakavi: The Chronicles of Amaragiri (Telugu), 28-11-2024, Drama, 6 episodes, 16+, OTT
  • Main Cast: Naresh Agastya, Megha Akash, Shiju Menon, Tarak Ponnappa, Raghu Kunche, Mukthar Khan, and Amit Tiwari
  • Director: Pradeep Maddali
  • Producer: Rajani Talluri
  • Music Director: Ajay Arasada
  • Cinematography: Shoeb Siddiquie
  • Rating: 3.5/5

In the last few years, Telangana culture has had a major influx into mainstream Telugu cinema through stories or characters.

A major reason for that is the consistent portrayal and telling of Telangana by the likes of Priyadarshi Pulikonda, Vishwak Sen, Tharun Bhascker and Siddhu Jonnalagadda.

Vikkatakavi: The Chronicles of Amaragiri the new web series streaming on ZEE 5, directed by Pradeep Maddalli and written by Saitej Desheaj is a good addition to this trend. Through the six episodes, Pradeep and Saitej have effectively mixed the Telangana folklore with the detective genre.

The series also pays homage to the legendary Tenali Rama Krishnan, known for his wit and intellect in equal measure.

Synopsis

The story of Vikkatakavi: The Chronicles of Amaragiri is set in the 1970s, in a village called Amaragiri. In this village, people lose their memories as soon they visit the haunted Devathala Gutta.

The story then follows Naresh Agastya’s Ramakrishna aka Vikkatakavi. He is not just a brilliant student but is also known for his exceptional investigation skills. Ramakrishna embarks on a dangerous journey for an emotional reason.

A constant tussle between superstitions and rationalism enhances the plot. The show also has some attention-grabbing twists that keep the viewers guessing about the reasons behind these mysterious happenings. There is a strong connection between Ramakrishna’s past and the happenings in Amaragiri, which adds to the emotional quotient, in addition to the thrills.

Strong technical support

Naresh Agastya in Vikkatakavi
Naresh Agastya in ‘Vikkatakavi: The Chronicles of Amaragiri’. (X)

A strong aspect of Vikkatakavi: The Chronicles of Amaragiri is its world-building. Shoeb Siddiqui’s work, particularly, stands out among the technical aspects. The rustic village atmospherics along with the night sequences set in the forest draw the audiences into the world of Amaragiri.

The production design and costumes are mighty effective in transporting the viewers into a by gone era. Ajay Arsada’s background score is very effective in enhancing the tension-filled sequences.

Apart from the technical aspects Pradeep Malladi also deserves appreciation for how he has integrated the local beliefs of Telangana people with the subplot of a bio war.  Special mention must also be made of the actors playing the village people.

Performances

The romance between Naresh Agastya and Megha Akash is understated without hijacking the central theme. Megha Akash hasn’t got a lot to do but she does have a lovely presence.

Naresh Agastya continues to showcase his versatility with an arresting portrayal of a detective. After this year’s Paruvu Naresh shows a different facet of him. The boyish charm coupled with intensity make him the perfect choice for the central character.

In the supporting cast, Raghu Kanche impresses the most with his terrific act. The way he conveys the negative traits with just expressions is a delight to watch. Tarak Ponnappa and Mukhtar Khan too are proficient in their roles.

Among the speed bumps, the final act needed a much better punch, given the intricate build-up. The final episodes feel lengthy as the viewers tend to form an idea of how things will ultimately go. The series also taps into nationalistic sentiments, but this aspect feels forced.

Final take

Keeping aside the rough edges Vikkatakavi: The Chronicles of Amaragiri is a solid addition to the evolving Telugu OTT space. Definitely worth watching for those like stories with elements of mysticism and thrills.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/vikkatakavi-the-chronicles-of-amaragiri-web-series-review-an-engrossing-first-of-its-kind-telangana-detective-show/

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Bahishkarana: A gripping rural drama which successfully transports the viewers back to the period of feudalistic landlords

Director Mukesh Prajapathi takes a leaf out of Sukumar’s Rangasthalam and also other village based social dramas however he does show his individual stamp

  • Starcast: Anjali, Ravindra Vijay, Sritej, Ananya Nagalla etc
  • Direction and screenplay: Mukesh Prajapathi
  • Dialogues: Shaymu Chennu
  • Music: Siddharth Sadasivuni
  • Cinematography: Prasanna Kumar
  • Production Company: Pixel Pictures Pvt LTD
  • No of episodes: 6
  • OTT platform: Zee 5

Mukesh Prajapathi takes the viewers back to the times of caste discrimination and landlords exploiting young girls of lower social strata. The strange thing is that these upper-class men do not want them in their houses but have no qualms about enjoying them in bed. The story of Bahishkarana isn’t particularly new. The village president Shivaya (Ravindra Vijay) is revered by the villagers of Peddapalli and also the surrounding ones. Darshi (Sritej) is Shivaya’s right-hand man; he reveres Shivaya like the rest. However not surprisingly Shivaya is not what he appears to be, there is an unknown dark side.

To this the director has added the angle of a mysterious woman who pops up in Peddapalli. Pushpa (Anjali) is the personal mistress of Shivaya and is kept far away from the village. Darshi is given the responsibility of looking after Pushpa instead he ends up falling in love with her and she too reciprocates his feelings. But Shivaya obviously isn’t pleased with this development and gets Darshi married to someone else in a cunning manner. As the plot thickens the story takes many turns and deals with different threads. For example, how the villagers come to know about the reality of Shivaya among others.

Darshi and Pushpa falling in love

An aspect which captures the viewer’s attention while watching the show is the period set up. The production design and the cinematography deserve a particular mention. Prasanna Kumar needs to be praised for how he has captured the rustic terrain of Peddapalli through his lens. His cinematography adds immensely in creating the right atmosphere.

Siddarth Sadasivuni’s songs perfectly gel with the nature of the story. My favorite song of the album is Kalaa Nijam, a melodious tune that establishes Darshi and Pushpa falling for each other. He has also delivered an impactful background score particularly in the scenes of tension.

The love story between Darshi and Pushpa has also been well developed. The process of them falling in love is filled with some adorable moments. As viewers you wish they had a happy ending.

Darshi as Shivaya’s right-hand man

Dialogues by Shayam are another asset. His dialogues are power packed with some impactful social commentary on the exploitation of the poor. There are also some powerful scenes showcasing how the society looks at the likes of Pushpa.

What hampers the series somewhat though is the hangover of some village based social dramas particularly those that have featured the legendary actor Rao Gopal Rao. Apart from this the show could have also done with more attention-grabbing twists. The plot mostly runs on a single thread, and this does get monotonous at places.

The performances of the three principal actors elevate the drawbacks in a significant way. Anjali shines bright with her bold performance. Her portrayal of Shivaya’s concubine and also Darshi’s lover deserves distinction marks. Ravindra Vijay also does a splendid job in portraying a quiet menace. Shivaya is someone who portrays himself as a do- gooder from outside but he is actually a womanizer. The actor brings out the subtle variations in a wonderful manner. Sritej also gets into the skin of Darshi. The rugged look coupled with his performance in the emotional scenes deserves distinction marks. Ananya Nagalla is pretty good in her limited screen time.

Anjali shines with her bold performance

Bahishkarana is a must watch for those who like gritty dramas with village background.

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8 AM Metro

Saw the movie 8:AM Metro on Zee 5. The plot revolves around a homemaker Iravati (Saiyami Kher). She suffers from severe panic attacks; a traumatic incident is the reason. Iravati has a massive phobia of trains. All this changes when she has to make a trip to Hyderabad. Her younger sister is about to deliver a baby. Iravati has no other option other than to navigate the new city while dealing with anxiety attacks. She is also a closeted poet. Gulshan Deviah’s Pritam is a banker who bumps into Iravati at the Metro station.

The beginning portions of 8 AM Metro give the feeling that this is going to be another story of a married woman who will find a companion outside marriage. However as the story progresses the movie moves into an altogether different zone. Director Raj Rachakonda raises some relevant points on the society’s attitude towards mental health along with how they are just asked to be strong. There is a brilliantly executed scene of role reversal where Iravati becomes society and Pritam her. The movie also effectively uses the medium of poetry and literature to give life lessons. An important twist regarding the personal life of Pritam also catches the viewers by suprise. It is one of those twists that the viewers definitely don’t see coming.

Although the movie is engrossing for most part, there are a few logical loopholes which the director should have taken care of. One of them is Iravati spending more time with Pritam than her younger sister who is on the verge of delivering a baby. Also Iravati living in a place which is some distance from the hospital comes across as absurd. Performances wise both Saiyami Kher and Gulshan Devaih are stellar, they also share a wonderful chemistry.

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Year-End Roundup: Best Web Series Of 2022

Here are the four best web series from three different languages (Tamil, Telugu and English) that made a mark with their content on sensitive, social issues.

Anantham and Suzhal: The Vortex in Tamil and 9 Hours created by acclaimed director Krish Jagarlamudi in Telugu won the hearts of viewers.

As We See It, an English comedy-drama that follows the journey of three roommates with autism spectrum, caught the attention of the audience.

Anantham

Anantham, directed by V Priya, is the story of a house narrated by a house.

The plot spans different decades and each episode comes with its genre. There is romance, comedy, tragedy and horror among others.

The best thing about the web series is the way Priya integrates these genres. As viewers, we go through various emotions with each segment.

For example, there is a segment called “Parvathy” that talks about a child abuse survivor who ends up meeting her abuser. Through this segment, an important topic was discussed.

The director throws light on the family ecosystem that made the child a victim and the passive aggression that silenced her.

Another interesting segment is “Lalitha”. She is a murderer chased by her past demons. However, to the son, she remains the noblest soul on earth. The jump scares are done well and on more than one occasion the audiences feel scary.

Anantham also makes a plea for accepting homosexuality. Ananth (Sampath Raj) is a famous homosexual writer. He was thrown out of the house at a young age by his father Venkatesan (Prakash Raj) upon discovering his sexual tendencies.

Ananth returns to his family home after a long time when the father is unwell.

Venkatesan is someone who oscillates from being a progressive dad to a man with homophobia but he eventually comes to love his son. All this was brought out wonderfully by both the director and the actors.

Suzhal: The Vortex

Suzhal: The Vortex is much more than just an investigative thriller. The series is written by the acclaimed director duo Puskhar-Gayatri and directed by Bramma and Anucharan.

Suzhal means environment. It has many layers and character arcs. Viewers are kept guessing till the end and the finale is gut-wrenching, to say the least.

The series starts in a small town Sambaloor which is preparing to celebrate “Mayana Kollai” (looting of the graveyard). It is a ritual that is closely associated with the Goddess Angalamman.

The devotees of Angalamman narrate the life of the Goddess in the form of songs.

While this is happening on one side, on the other side, a huge cement factory in the same town gets destroyed in a fire. Its union leader is Shanmugham (Parthiban) whose 15-year-old daughter Nila also goes missing the same day.

The task of solving both these mysteries is entrusted to Sakkarai (Kathir), a sub-inspector.

Regina (Shreya Reddy) is also a police officer. Regina’s son Adhisayam is a suspect in Nila missing case, which creates unrest between the families.

Nandini (Aishwarya Rajesh) is Nila’s sister. She returns home after a lay-off in her company. She decides to help Sakkarai in his investigation. As the story goes along some deeply buried secrets start tumbling out.

The first two episodes give the feeling that it is an investigative thriller but it soon ventures into a rather unexpected zone.

The screenplay is very deft and each character is compelling to watch, irrespective of his or her screen time.

Some of the issues addressed are superstition, police brutality, child sexual abuse, human sacrifice and mental health. All these are smartly integrated and at no point that the audiences feel a sense of being burdened with several things.

One of the most touching parts of Suzhal is concerning Aishwarya Rajesh’s Nandini.

She is someone who is dealing with repressed emotions and has to take therapy to get over them. Through her character, Bramma and Anucharan address the importance of mental health.

Writer duo Gayatri-Pushkar infuses a much-needed message in the climax. It is something that will stay with the audiences, especially parents and children.

The performances across the board are brilliant but Kathir and Aishwarya Rajesh stand out.

9 Hours

Director Krish Jagarlamudi created a niche for himself with films like Gamyam, Gautamiputra Sathakarni and Konda Polam, among others. There is always an expectation of quality content when his name is attached.

The original story of 9 Hours is written by Malladi Venkata Krishnamurthy, a popular writer of yesteryears and adapted by Krish for this web series. It is directed by Niranjan Kaushik and Jacob Varghese.

As the title suggests the story is set in the time frame of nine hours. Three prisoners escape from jail to rob a bank but a simple bank robbery leads to a series of unexpected events.

The best bits of 9 Hours are easily the situations focusing on the hostage.

There are some unexpected revelations regarding those who are connected to this robbery. No one seems to be what they are. Some of the backstories are particularly well-fleshed out.

A special mention must be made of the character played by Ajay. His motivations are unclear for the most part. But when the suspense is revealed, it catches you off guard.

Ajay shines the brightest in this huge ensemble. The story for the most part takes place in the bank but the single location never comes across as a hindrance.

As We See it

This web show is created by Jason Katims. It is a heartwarming journey of three 20-something flat mates suffering from different spectrums of autism.

First up is Harrison (Albert Rutecki) who is the least independent of the three. He hates going outside because he is full of insecurities.

Next up is Violet (Sue Ann Pien) whose biggest desire is to have a boyfriend and lead a self-sufficient life.

The last among the three is Jack (Rick Glassman) who is the complete opposite of Harrison. He speaks whatever comes to his mind, irrespective of what the others around him feel.

As We See It shows how these three flatmates navigate family, friendships, careers and matters of the heart. They are guided by Mandy (Sosie Bacon).

At its heart, As We See It falls under a dramedy. A good dramedy needs to have the right balance between light and dramatic moments. Neither should outshine the other. Thankfully, Jason Katims got this mixture perfectly right.

The series has a feel-good nature to it but at the same time, the core issue is never watered down. It successfully addresses the different misconceptions about what is normal.

Out of the three flat mates, Violet has the most impact. Her equation with her brother Van gives the show some of its best moments.

The acting performances are top-notch across the board and add immensely to this well-made dramedy.

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Kaagaz: A Solid Story Wasted

Satish Kaushik’s Kaagaz has its heart in the right place but never comes together as a whole due to its dated treatment. The only redeeming factor for this one is the ever dependable Pankaj Tripati who gets to play the leading man for the first time in his career. His sincere performance is the only thing which makes you sit through this one.

Based on a real life story, Pankaj Tripati plays a bandmaster called Bharat Lal in a village in Uttar Pradesh. He is content with his tiny shop and his small family until a well wisher advises him to get a loan for expanding his business. When Bharat Lal tries to get the ownership papers of his land to keep as a mortgage for the loan, he realizes that his extended family has declared him dead in order to usurp the land. Rest of the story is about how Bharat Lal struggles to prove that he is still alive. In doing so sometimes he takes extreme steps which make him look like a buffoon for the villagers. But this doesn’t stop him from wanting to prove himself alive. Satish Kaushik, the director, also plays the lawyer character who initially takes up the case of Bharat Lal just for the sake of it but later he turns out to be a big support. What follows is a social comedy which doesn’t fully exploit its potential.

The first thing which strikes you about the film is the treatment which reminds you of 70’s. Agree that the film is set in the 70’s but as a filmmaker Satish Kaushik should have realized that he is making a film for the 2021 audience. You can clearly see the datedness of the film from its first frame. To make matters worse there is also a pointless item number early on in the film. The song looks completely out of place and you feel like fast forwarding.

Another bothersome aspect of the film is that it plays out more as a comedy. There is an attempt to dilute the seriousness of the topic which shouldn’t have happened. The best example of this is the reaction of the wife to the scenario. She responds to his predicament by saying that she also has doubts whether he is a ghost or an actual person.

In reality 20,000 people have been declared dead in Uttar Pradesh for various nefarious reasons while they were very much alive. The director failed to portray the gravity of the situation by taking a light hearted approach. Bharat Lal was so frustrated to prove himself alive that he stands in an election to get his name into the official record. Likewise he goes to the extent of kidnapping his brother’s son so that his name will appear in the police records.

Kaagaz has also some similarities with Aamir Khan’s production Peepli Live. That was also a social comedy but unlike that this one is a missed opportunity.