By Vishnu Mahesh Sharma
Character A (daughter) says to character B (father): Tussi Kadiapanigartinahimannoge. ” (You will never admit your mistakes because you have no shame left). For now, her daughter seems to be referring to her father’s carelessness in forgetting her grandson’s birthday. But a few episodes later, this little confrontational dialogue culminates in Character B. Perhaps for the first time in her life, she accepts her mistakes and confesses her crimes. The moment just before this confession is also the moment to put an end to a troubled relationship. There is an old saying that a woman seeks a vestige of her father in her future husband. This word resonates here in a very twisted and complicated relationship.
The two sequences above may imply that I’m writing about relationship drama, but I’m talking about Kohrra (directed by Randep Jha, produced by Clean Slate Production), and the essence of it all. It’s a slow-burning investigative thriller. But in this mind, the heartbeat runs the gamut, from sibling rivalries to dysfunctional families, relationships to revenge, and the collateral damage of the actual investigation. It’s a remarkable achievement, one in which the script deftly and deftly weaves in minor threads of supporting characters and their problems, without losing any focus from the main plot, and not just crime-related revelations, but these sorts of bids. But it surprises us. , heartwarming and heartbreaking dialogue between characters.
As with any noir, Critical Reveal isn’t about the mystery. crime committed Learn more about the mystery of human spirit and human behavior. The character says “Pyaar badigaanduchijhotihai” (Love is a bitch). The moment this dialogue takes place, everything begins to make sense. What seemed strange in the opening scene of a couple (making love in the field) discovering a dead body is no longer strange. This scene gets its motive after Ai proves to be a bitch, and it’s understandable why the corpse had to be witnessed by the lovers first. This is where people do strange things in love. They are wrong and wronged in love. There are many forms of love. In Jagrana, a small town in Punjab, a world of love embraces locals and foreigners, males and males, males and transgenders, fathers and daughters, brothers-in-law and sisters-in-law, fathers and sons, and crime victims. I’m here. family.
In one of the sequences a father asks his son to prepare a drink for him (the father). While preparing the drink, the son not only pours alcohol, but also himself (his son) bitters. A few episodes later, a scene of reconciliation shows the father preparing a drink for his son and pouring love, affection, concern, respect and security into the drink. The most mundane landscapes are sublimated into something that has a very deep emotional impact. Breathe in the same way the next moment. Now the father becomes a brother and confesses to his brother that he has always longed for the love and attention of his sister, who has always loved him the most. Now we know that he poured into his son’s drink the same love and respect that he didn’t get from his sister. This scene very subtly comments on how the thirst and longing for love drives a father down a path of caring for his sister, which in turn drives his son down a path of criminal pursuit. are doing. Two people with the same emotional root take conflicting steps to gain the approval of their loved ones.
In this dark atmosphere, it’s very interesting to see a scene like Love Urge Kal with a man outside a woman’s house. No dialogue was exchanged. The woman recognizes his presence by turning on the light and also offers him tea. The world of this web-her show and his Love-Aaj-Kal world are quite different, but this lovely sequence never feels out of place. For that matter, so are these moving scenes.
The narrative progression not only finds time for drama, but also very skillfully sneaks humor into the most mundane and most boring situations. Humor also ranges from dark to hilarious. For example, consider a sequence in which a doctor summarizes a postmortem report. This summary is literally so bloody that the next moment you see the words “I Love Jagrana” flashing on the road. This flashing love heart glows red like blood, showing that “love” in this world leads to blood. This colorful Black humor is also in another scene where a witness testifies against a suspect who wears a yellow jersey and drives a yellow scooter. This moment plays a rap song on my laptop with the lyrics in yellow font. Apart from these dark laughs, there are also moments that bring laughter. One such moment is when Garundi (Barun Sovti) asks the victim’s fiancé if he knows the victim’s mobile phone passcode.
In a murder mystery all of these things might be obstacles, but in Cora the world, the atmosphere and the characters are so perfectly established that these people, their traumas, along with a focused murder investigation, are all well-established. , their guilt, their crimes and motives can be tracked as well. An ensemble of casts greatly aids that purpose. Balun Sobti here is not Asur’s Sobti. He has more shades of Halahal sobti (but only in comical timing). Svinder Vicky casts a spell on us with his performance. We love him when he wants us to love him. We empathize with him when he wants us to empathize. We hate him when he wants us to hate him. It is a performance full of that presence. After witnessing him as a Punjabi police officer in CAT, I was skeptical that this would be a repeat of a similar performance, as there are sequences like drugs and police snitches here as well. But his acting skills and good script are proof that while one cop may be very similar to another, the actor makes that cop a different person than the others.
The show’s script is brave enough to find a moment of mainstream heroism in which the protagonist single-handedly saves the day. At the same time, creative enough to reinvent guilt-ridden dream sequences. In a great imaginary scene, a character walks down memory lane, but here, in his memory, he literally walks another way. In his mind, these lanes are mixed and intertwined with many others. This psychological turmoil aligns very well with the physical state where different voices from different people are haunting and create moments of confusion and indecision.
Sometimes it feels like the script was manipulated rather than written. It happened in the operating room, not on set or on location. The reasoning behind this feeling lies in the surgical precision that harmonizes artistic expression, noir elements, murder mystery, and a twisted love story, and gives each one its due. However, this surgery leaves some scars unattended. Despite his imperfections, like Steve’s character played by Manish Chowdhury, he’s said to be a formidable patriarch, but we can’t get enough shades of that. Another weak point is the child character named Gol. Gol is there in terms of screen time, but neither his absence nor presence makes the impact that should be made. The same goes for Garundi’s relationship with his brother and sister-in-law. The strength of Garundi’s love is not matched by her horrific behavior in her love.
Nonetheless, the script that may have finally emerged from the operating room is very spirited and heartfelt, with all the elements of noir with a rustic Indian soul intact, and its It amazes us with its skill and sense of the world and bloody chaos. wake people up The show proves what it sets out to do to prove that “love can be a bitch,” regardless of gender or the type of relationship you’re dealing with.
