Unsettling thoughts float through the mind as the thrilling thriller Ram Madhwani has a distinct sound of social explosion, augmented by commentary on media ethics.
A week of big public apologies comes a film in which the common man seeks repentance from a powerful minister for failing to fulfill his duty. A bold idea that fills you with nervous energy, the film is the official remake of a Korean film, but closer to home, it reminds you of the angry commoner from Wednesday. In Neeraj Pandey’s film, a desperate man in the street threatens to bomb Mumbai, here a desperate migrant crosses the line. The film makes you wonder about what has changed over the past decade. Perhaps the trust of the disadvantaged was undermined. Perhaps this was reflected in the mass exodus of people from big cities to villages during the pandemic. The point is not that the last person in line attracted attention earlier, but some of the predatory media did not give him hope. His trust was not used 24×7.
Read also | Receive “First Day First Show”, our weekly film newsletter, to your inbox.… You can subscribe for free here
Unsettling thoughts float through the mind as the thrilling thriller Ram Madhwani has a distinct sound of social explosion, complemented by commentary on media ethics.
It mostly takes place in the newsroom of a private news channel that the markets trust to quench their insatiable hunger for ratings, and it follows the apostate news anchor Arjun Pathak (Kartik Arian) who is trying to use “sensational” news to rebuild his lost position. …
What appears to him as a “normal” terrorist attack / hostage situation that he intends to milk quickly becomes a personal matter as his estranged wife (Mrunal Thakur) reports from scratch. Even when the threat lurks in the newsroom, die-hard producer Ankita Malaskar (Amruta Subhash) smokes the remnants of journalism in its system. For her, truth and news are two different things.
In the ensuing moral battle, it becomes increasingly clear who the main villain in the play is. But at the same time, the narrative is becoming more predictable. As the intense thriller begins to fade, you begin to notice flaws in the plot. When a film is based on high moral standards, the likelihood of a miss is reduced. When a movie that tries to expose the prime-time news ploy starts to look staged, it hurts.
The scenography and cinematography are at the highest level, but the work of the editorial staff, the motives of the “villain” and the actions of the anti-terrorist unit officer (Vikas Kumar) leave you unattended. Once you’re on the edge of the seat, the climax is a bit disappointing. A few more drafts would have helped, a little more sharpness. There is no such problem with Amruta, who stands out for his careful observation of the character, which illustrates the state of the electronic media section.
Kartik was shrewdly assigned the role of a hollow TV presenter, fueled by opportunism, teleprompter and TRP. As in “Love Aaj Kal,” he plays the “lost” role well, but when it comes to transformation, he is awkward. Fortunately, this part is short here.
Dhamaka is currently streaming on Netflix.