Visphot Movie Review | filmfare.com

Visphot, which means “explosion” in Hindi, immerses audiences in a slow-burn Mumbai noir experience that reflects the gritty style of producer Sanjay Gupta’s directorial lineage. Directed by Kookie Gulati, this Hindi remake of the Venezuelan film Rock, Paper, Scissors (2012) takes us through the dark and contrasting realities of Mumbai. The film begins with a high-level background: an ordinary taxi driver from Dongri, Shoaib Khan (Fardeen Khan) unknowingly loses a drug-laden jacket of a dangerous female don, Tai (Seema Biswas). Meanwhile, Aakash (Riteish Deshmukh), an airline pilot, finds his world turned upside down when he discovers that his wife Tara (Priya Bapat) is having an affair. As the day goes on, a seemingly simple error turns into a high-risk, chaotic mess. Shoaib’s lost jacket triggers a deadly chain reaction, linking his fate with Akash’s as both men become drawn into a treacherous game involving the ruthless mafia, corrupt police and their oblivious families. The narrative is based on the interconnectedness of their lives, revealing how their personal crises turn into a dramatic confrontation with fate, exposing vulnerabilities and moral ambiguities.

Despite its profound premise, the film struggles to hold its own after a while. There is a mistake in editing here. The hook points of the plot are not coordinated the way they should have been and it completely distracts the audience. The film builds towards a bloody climax and when it does, you see so many bodies falling that it looks ridiculous. And keep in mind, two of our heroes managed to avoid being killed amid the melee. But then again, this has always been the norm in Hindi films and the director was just following tradition.

Sheeba Chaddha as Fardeen’s mother is brilliant, whose grief-filled portrayal takes the film to new heights. Her powerful portrayal of a woman devastated by the loss of her husband is very touching. Seema Biswas also makes a memorable impact with her extremely nuanced portrayal of the female don, Tai. It takes a while to get used to Fardeen as a canoe boy, but once he gets into the groove, he wins your heart with his honest effort. He managed to capture the frustration of his character and made Shoaib real. Riteish Deshmukh adds significant depth to Akash, skillfully conveying both vulnerability and inner conflict. He is the picture of a father whose heart is for his son. Before Heera Mandi and Khel Khel, it was supposed to be Fardeen Khan’s comeback medium, where he played the role of a Nawab and a gay man respectively. He is certainly showcasing his versatility, playing the role of a reformed thug here. Riteish Deshmukh is credible as ever and shows that there is more than just comedy in his performance. One can understand that Akash can go to any extent for the safe return of his son. Priya Bapat’s portrayal of Tara effectively conveys the tragedy of a conflicted relationship. Although she loves her son and respects her husband, there is no love left between them anymore, forcing her to take a boyfriend and Priya pulls off all these layers with confidence in her performance. Brings. Krystle D’Souza brings a charming charm to Lucky. She’s a good girl stuck in the wrong place with the wrong man and a lot could have been said about her struggles. Sadly, his role seems somewhat underwritten.

Prabashth is a thriller but it is also a morality tale of sorts, pitting human greed against love and innocence. The story’s universal appeal is somewhat diminished due to uneven execution. The film, which was initially scheduled for a theatrical release, was released on Jio Cinema without any fanfare. It stays true to the original for the most part and will remind you of the Guy Ritchie brand of films. Kookie Gulati is no Guy Ritchie, although he comes close to being Sanjay Gupta 2.0.