Pritish Chakraborty makes his directorial debut with this film about a wannabe filmmaker who chucks up a secure future in order to pursue his Bollywood dreams.
Probably shades of his own life in this story which runs through all the tried and overdrawn clichés associated with the struggle for a film based career in the big bad world of Hindi cinema.
Suraj (Rahil Tandon) is the man in the middle who earns an MBA, a well paying job and a coveted offer from UK only to throw it all up for a chance to hang out with the crowd of wannabes that surround India’s biggest film Industry. The first 15-20 minutes into the film are fairly gripping.
Film: Chal Picture banate hai,
Cast: Raahil Tandon, Bhavna Ruparel,Sandeep Sachdev, Denesh Pandey,
Director: Pritish Chakraborty
His family disown him and he is on his own in his struggle to make a mark in the industry. With Mansoor (Mukesh Bhatt)’s help he takes his first baby steps into an industry which looks all glossy and beautiful from the outside but at heart, is crueller than Cruella de Ville.
His first job is pretty much humiliating-putting up film posters at road corners. Then he meets Melrena (Bhavna Ruparel), and falls headlong into a love-affair that could well jeopardise his march. Suraj continues to struggle experiencing all the pitfalls associated with the industry – The dynasties, the fiefdoms, the formulaic transgressions, the nepotism, the narcissism, the hurdles continue to come at him in quick succession. To add to all that, there’s a whole lot of dramatic negativity coming at him from his family.
On the one hand we are supposed to hail the passion which fuels Suraj’s drive towards a successful film career and on the other there’s this family drama being played out about a selfish son who doesn’t acknowledge his parents heartache over his choices. It’s a dichotomy that is not quite empathetic.
Also the so called humorous elements inserted appear to be rendered as slapstick rather than satire or spoof.
The tone is not very consistent either and the plotting appears quite confused. The assorted characters that surround the struggler story only strengthen the stereotypical belief about Bollywood.
The plotting is a trifle old-fashioned and not exactly contemporary. The protagonist gets plenty of opportunity to make a mark but his ideals come in the way, so the struggle gets elongated.
The acting is just about passable. The narration is unsure just as the story is confused.
Like ‘Mere Dost picture abhi baki hai’ before it, this Bollywood struggle story lends itself better to the fantasy that is Bollywood, than the real deal it hopes to have captured!
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