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Ray’s Review – Movies Rediff.com

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Ray’s Review – Movies Rediff.com

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As an exercise Ray commendable efforts.
Like collaboration, it’s luck, notes Sukanya Verma.

Edgar Allan Poe once said: “A short story should have one mood, and every sentence should be built around it.”

The consequence is almost always a sharp conclusion, characterized by morality, surprise or wit.

However, when it takes the form of a movie, the story strikes a balance between vision, feeling and expectation. But despite all the trappings that feed the imagination, literature and cinema are two completely different mediums.

Connecting the fixed with the fluid is a real challenge for any filmmaker. The idea of ‚Äč‚Äčturning four stories by Indian author Satyajit Ray into a brand new Netflix anthology series called Ray.

Director Shrijit Mukherjee, Abhishek Chaubey and Vasan Bala’s vision for the director’s script meets with varying degrees of success.

Ray’s stories are harmless, fresh, vital and extraordinary.

In just a few pages, the author clearly expresses the quirks and fallacies of the human condition. Their adapted avatars, each one hour long, represent the essence of each story in a contemporary context.

Of the four, Srijit Mukherjee directs two and uses a decidedly sombre tone.

His Do not forget mebased Bipin Chowdhury Memory loss summary – Ipsit Nair (Ali Fazal) can’t remember.

Mukherjee milks the selective amnesia of the overconfident corporate adventurer into monotony. Only the effect of an exploding takeaway bomb can cause such prolonged confusion.

But Do not forget meAn unconvincing climax cannot create the vindictive mood she sets herself up for.

Fully viewable thanks to the growing annoyance of the able Ali Fazal, this excerpt would be a great allegory for gaslighting.

Next Mukherjee, behrupiabroadcasts the protagonist Ray, a makeup expert, from chameleon.

Kay Kay Menon plays an insecure agnostic, rejected by the world, who uses his unexpected heritage and knowledge of prosthetic makeup to reckless effect.

Targeting his dastardly boss, casual sex partner and all-knowing mystic, the line between man and mask soon blurs.

Full of creepy sex scenes and bizarre poses behrupia unbearably pretentious from start to finish.

It’s a pity to watch one of Ray’s best short stories turn into an art test.

Hungama Kyun Hai Barpa your reward for enduring this.

Bizarre adaptation by Abhishek Chaubi Barin Bhoumik’s disease is the clear winner of this anthology and is most true to Ray’s soul.

The action takes place in a luxurious compartment of a first class train from Bhopal to Delhi. gazelle singer (Manoj Bajpayee), who models himself as Pakistani singer Ghulam Ali, and Aslam Baig, a former wrestler who has been awarded titles such as Rustom-i-Patparganj, Kesari Karkarduma, Jenga Pehalwan became a sports journalist (Gajraj Rao).

The name is taken from the classic Daag Delvi. gazelle synonymous with Ghulam Ali, past, present and future collide in a disarming chain of events triggered by an antique pocket watch and a funny mental illness.

The latter is easier to pronounce than Rajesh Khanna’s diagnosis Anandwe’ve been told.

Another mention of Kaka pops up when Baig quotes his popular “kutti cheesephrase.

Chaubi’s quirky humor, love of lyricism, and comfort around Urdu-speaking characters are unmistakable, as is his ingenuity. This is clearly seen in the artistic manifestations of Musafir Ali’s inner voice, the virtuoso cameos of Raguveer Yadav and Manoj Pahwa, or in the joyful irony that he comes to at the end.

And glorious jugaalbandi between Bajpayee and Rao, two actors at the peak of their abilities, they take Ray’s vision to the next level.

Based on the short story of the same name by Vasan Bala. spotlight leaves a mediocre effect. Ray’s belief in “improvisation” more than his story guides Bala’s actions.

When the arrival of Didi (Radhika Madan), a female god with 245 miracles to her credit, threatens to steal the thunder of an insecure movie star (Harshvardhan Kapoor) and the coveted Madonna Suite, his irritable protests take a strange turn, resulting in an unexpected release. and artistic breakthrough.

Ray spotlight paired with slight deceit and surprise, but Ball’s deliberately casual and brash interpretation is spiced with pop culture and parody.

Film critic Rajiv Masand appears, the director of photography is named Byomkesh Bakshi, Bala acts as director Ramen Malik, as in a play about Rami Malek, or perhaps in appreciation of his love of martial arts films.

There’s an homage to Ray’s movie titles while the wannabe hero obsesses over everyone from De Niro to The Dude.

It’s a stupid concept, and at its core Bala boldly invokes an empty, ignorant generation of Kafkaesque nightmares, weeping fools, or hopelessly sincere blind men. bhaktwith. But Searchlightthe power is off and the farce never registers.

While Radhika Madan is having fun spotlightIdiosyncratic and surreal elements, Harshvardhan is painfully dull. He can’t convey the aura of a spoiled star, nor the mocking tone.

As an exercise Ray should be encouraged. As a collaboration, it’s a hit and miss.

Ray is streaming on Netflix.

Rediff Rating:

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