The pace of the movie loses its grip in the second half — leading to illogical and forced conclusion — the 'Hitchcockian' twist was more of a spoiler than a masterstroke.
A tale of lies, deceit, betrayal and revenge — Riingo weaves a thriller in shada, kaalo, aabchhaa as a tribute to 'Master of Suspense' Sir Alfred Hitchcock.
In a bid to spend some quality time together, Delhi-based writer, Samrat Ray (Samrat Chakrabarti) along with his wife Sayani (Sayani Datta), a model by profession, go to the hills in Kolkakham. On the way to their hotel, Samrat meets with an accident. He wakes up only to find himself on a hospital bed with a blurred memory after three days. An anxious Samrat wants to rush to his wife. He is stopped on his way by inspector Ratan Chhetri (Rana Mitra), who is investigating the case.
After a round of interrogation, together — inspector Chhetri and Samrat — set out to meet Sayani. To Samrat's utter shock and dismay, Sayani refuses to recognize him. Instead, she introduces them to Shaikat Ray (newcomer Aryan Roy), her husband. Samrat is furious, but then his past is still shrouded in a mist. Is he imagining? Hallucinating? Samrat takes it upon himself to seek the truth. He meets several people in the process. Who's a friend and who's a foe, only time will tell...
Shada Kaalo Aabchaa
takes off on an interesting note. The first half is gripping — replete with surprises. For instance, one wonders how Samrat survives such a great fall without breaking a single bone. And what exactly is the role of the mysterious man, who keeps appearing at the strangest possible place and time?
Performance-wise, Samrat does a convincing job of a man who's completely shaken and dejected after being duped by his wife and friends. Sayani, on the other hand, is a director's actress, who prefers to go by the book. One wishes she was a little more flexible. Among the peripheral actors, Chirodeep Mitra, Aparajita Ghosh and Subhrajit Dutta leave a mark within the given parameters. Debutant Aryan Roy makes his presence felt with his good looks and impressive screen presence. One actor who stands out in the crowd, literally, is Rana Mitra. From his diction to body language, the actor charms all with his performance —
Riingo, who has been credited for his cinematographic approaches before, excels in this department once again. The chase sequences through forests and the market place are exceptionally well-executed. The film indeed has some stunning frames to boast of, as the director experiments with his camera — not often seen in Tollywood. The interplay of light and shade adds to the puzzle.
Sadly, the pace slackens and the story loses its grip in the second half — leading to somewhat illogical and forced conclusion — the 'Hitchcockian' twist was more of a spoiler than a masterstroke.
You can, nevertheless, give it a shot — if not for the story, at least for its visual brilliance.