In an attempt to be a comedy of errors with crime, Pia Sukanya’s film becomes full of errors
Imagine a situation where the inherent plot becomes your biggest nightmare. Elements which are incorporated to make you laugh, instead make you cringe. Bombairiya, in an attempt to become a laugh riot, confuses you to an extent that you wish you hadn’t shelled out money for this one. Looking at the array of exceptionally talented actors on board, you are reassured that the script is the real boss. With a message on Witness Protection Programme, the film strongly carved a niche for itself for the first idea. But never reaches even half way through.
Meghna (Radhika Apte) is a PR professional working for superstar Karan Kapoor (Ravi Kishan). She gets embroiled in a series of confusing events after her phone is stolen during a road accident.
The story by Michael Ward, Aarti Bagdi, and Sukanya herself serves for an interesting premise. But only at the outset. The first 10 mins of the film seem promising that infact you gear yourself up for an adventurous journey. But before you realize, you are thrown off on the ground and you wish you never bought the ticket for the ride.
The makers have woven a story incorporating elements that confuse you, in a presumption that the audience would remain hooked. Yes, that could have been the case if the content provided enough substance. What happens here is that just few minutes into the film, you get into a zone where you are in no mood to decode the clues. The characters are half-hearted, a screenplay too complex, and chaotic situations- not just visually but also mentally which make the film a tiresome watch, much before the interval. The film actually benefits one section- the concessionaire at the theaters. You would definitely rush for some refreshment.
If this wasn’t enough, the parts where the jigsaw puzzle is actually being solved, you find it illogical and incoherent. This is a film that will generate a strong word of mouth on why not to go for this one. Even the actors with their best foot forward (genuinely a good show of skill) aren’t able to save this excruciatingly painful film from sinking.
Anything happens at the makers’ discretion and just keeps happening, probably never giving a thought about the audience. There’s no flow in the events shown and you are sure to get drowsy with a script so lousy. The story is futile. The screenplay is a mess. Its a hotchpotch.
Radhika Apte is very good slipping into the character with ease. You enjoy watching her. Its a delight. In some sequences, you would even clap at her performance. At such times, it’s only because of her that you feel it was worth it.
Akshay Oberoi is good too. He makes his impact. So does Siddhant Kapoor. Both of them have a relatively equal screen time and they make you remember them even after you leave the theaters.
Adil Hussain and Ravi Kishan both have their moments and give what they are best in. They entertain you with their screen presence.
Amit Sial, Shilpa Shukla, and Ajinkya Deo in brief roles don’t contribute much but put up a decent support. They at least add familiarity.
Arko Pravo Mukherjee and Amjad Nadeem’s music is just average. No memorable number. Nothing that you can even humm. Background score is good only in parts. In some, it even sounds slapstick.
Karthik Ganesh’s camera is good and in situations which are chaotic and confusing by nature, the camera does a phenomenal job. Visually the colors and elements please your eyes. Also Antara Lahiri has edited the piece well, especially in sequences that are swift and racy.
Production design is pretty decent with the visual appeal of the film moving well with the plot. The makers have attempted to make the film look close to reality, which is of course achieved.
With great actors in hand, reasonably good technicalities and a promising plot, Bombairiya could be one milestone. Instead it will remain reduced to a film watched by only a handful, remembered by even a fourth of those who watched. With a message never told before in Hindi cinema, its a clear case of an extraordinary opportunity let gone, right at the writing table. Thumbs down.