We frequently encounter individuals in the movie universe who we want to get to know better. The Hawkeye series is the latest in a long line of spin-offs from Hollywood. But we keep asking what made Gabbar so vicious in Sholay, or how about a film that informs us the reasons of Badhai Ho’s grandma or Vicky Donor’s mother?
While teaming up with his daughter and filmmaker Diya Ghosh last week, writer and producer Sujoy Ghosh recounted the storyline of Bob Biswas (Abhishek Bachchan replaces Saswata Chatterjee). It included the unlikely killer who almost knocked off Vidya Bagchi (Vidya Balan) in a previous meeting with an accident. Bob, whose tagline was Ek mint (one minute), appeared on screen for about 10 minutes, but his appeal ensured that he remained in public memory.
Surprisingly, Bob has forgotten his memory bank. Sujoy, who is compelled to work this time, leads us to the odd hitman’s house and family, promising to open up his thoughts for us. However, Bob remains a secret aside from the obvious moral problems of a guy living two identities. We’re still not sure why he does what he does.
Sujoy manages to entice us once more into the murky depths of a criminal narrative set in sluggish Kolkata. The hidden alleyways, the run-down nightclub, and the tunes playing in the background reflect the anxious energy of a Kahaani that you won’t forget even a decade later.
Yet again, he expresses the screenplay with societal themes, such as unreasonable expectations on kids taking competitive examinations, and teasingly shows us what happens to television show stars, who make up a substantial portion of the community in the country’s east. He slips in Bangla phrases like dorkar (need) in conversations with a charming connection with the Hindi-speaking audience. Diya astutely puts seasoned Bengali performers who provide a convincing texture for the drama to unfold. In reality, Bob’s discussions with Kali Paul (Paran Bandopadhayay), a gentle homoeopathic pharmacist carrying many mysteries, provide a mystical depth to the criminal plot and offer a kind of spiritual legitimacy to the assassin’s activities.
he conclusions are overly simple for a plot that draws us in with its intricacy. Bob’s memory, a vital gear in the wheel’s operation, returns quite neatly. His wife Mary’s (Chitrangada Singh) storyline is as obvious as using the homoeopathic trope in a Bangla setting.
Although he desires to perform a complex role, two hours is insufficient to accept Abhishek Bachchan as Bob Biswas and remove Saswata Chatterjee from memory. One has to imagine what the dorkar was thinking when he decided to replace him with a well-known face.
Bob expresses an odd blend of confidence and self-doubt. He might be tense and weak in the knees at the exact moment. Abhishek may be carrying a Bob inside him, but the belly and prosthetics hinder the emotion from coming across clearly and consistently. Instead, they simply serve to remind him that he is emulating a character who became legendary because he defied stereotypes. Because it hit a chord, it appears that the creators are attempting to construct a new prototype out of Bob. It provides diversity to Abhishek’s career, but it may only fill the compromise column in Sujoy’s works.
Chitrangada Singh finally gets a decent role as Bob’s gorgeous wife after a long time. Maybe the casting director was given the perspective of an undercover spy on Mary. He referred to him as the remedy for Bob’s lost memory and desire. Chitrangada matches the profile, and like Abhishek, she works hard to blend in with the middle-class crowd, but she doesn’t always succeed in getting rid of her uber-chic baggage. Mary stands out amid the pathetic males around her, and she and Kali Babu seem like good candidates for the next spin-off. Sujoy, on the other hand, has different intentions. Not as remarkable as Kahaani, but still a plot worth bobbling your head once.
