‘FOOTFAIRY’ IS A DISAPPOINTMENT IN DISGUISE

Rating: 2.5/5
Director Kanishk Varma scores low in a genre that’s already risky, with a piece that keeps you intrigued though. That’s the catch!

Zee Network is clearly into experimenting the release picture of the films. After Khaali Peeli with pay per view model, Footfairy is an exclusive TV release. Why did it not indulge in widespread marketing to let audiences know is a matter of serious concern though. This film is one rare phenomenon. A story that forever keeps you guessing and glued, doesn’t turn out to be what the entire package promises you. Not even half of that.

Watch the trailer here:

PLOT

A serial killer with a female feet fettish is at large on the streets of Mumbai. Vivaan Deshmukh (Gulshan Devaiah), a CBI officer is in charge of the case.

STORY/SCREENPLAY/GENERAL

Written by Varma himself, the story is a simple one liner. A murder mystery where the killer has a pattern. Nothing new. Infact, the story is nothing more than a typical episode of Crime Patrol in terms of the content presented. What is good though is that it keeps you invested and puzzled, again like a typical episode of Crime Patrol. The difference however lies in the endings of both. Here in the film, the story unfolds in a different manner, of not exactly a satisfying nature.

Plus points are many. Minus ones are more. Right from the opening sequence, the film grips you in and you are always anticipating and guessing things in your mind, along with the cops. Sometimes, your guesses are indeed proven right and you feel good. You also make predictions on who the killer can be. When the CBI targets one person as their prime suspect, you start forming your own theories if he can be the one. It’s actually fun to move along with the characters.

But the screenplay boasts of unnecessary convenience, putting you off big time. The narrative shows that girls are being murdered and that media has clenched tight onto the case, following it up. Even then, there is no immediacy exhibited by any of the officers. Ofcourse, the writers are to be blamed for making the thriller loose in its approach. There is passion in the officers, but no rush to avoid another murder or to safeguard the other women.

Footfairy, &pictures, hindi, review, film, 2020
Director Kanishk Varma with Gulshan Devaiah and Sagarika Ghatge (image source: ibtimes.com)

There are also many elements thrown at the mercy of the police officers in the story as to what they think will surely happen. The realism angle of a police investigation seems to be missing from the writing wherein far fetched drama takes precedence. Of course, all these derivations happen after you’ve watched the film and not when you are actually into it. Simple funda- you are actually waiting for a twist to happen- which sadly doesn’t arrive.

For a film of this genre, it gets extremely important to make a lasting impression after you’ve watched it. Sadly, that is not the case. Not because the makers have resorted to this method of storytelling, but even otherwise because it hardly caters to the genre then. What all throughout remains an interesting watch gets reduced to a meaningless affair.

PERFORMANCE

Gulshan Devaiah has done decently fine. We know he is capable of much more. Here, he is just okay. It is also the unidirectional manner in which his character is written that he performs a little low-key. He suffers because of poor writing of his character.

Ashish Pathode has performed ably and he shines beautifully in his role. He has shades in his role and he lives up to all of those nicely. With his sharp body language, he also evokes a sense of suspicion towards his character. Good job by him.

Footfairy, &pictures, film, review, hindi, 2020
A scene from the film (image source: midday.com)

Sagarika Ghatge has a meaningful supporting role. Her role brings in depth to the narrative. She acts well. She is a decent actress and she does pull it off nicely. Yogesh Soman does fine as the main boss at the CBI. He has lesser scenes and lesser say in the overall narrative. But it is good to see him bring in some variation in the otherwise play of gut-feeling and guessing game of other officers.

It’s been a pleasure watching Kunaal Roy Kapur doing something other than comedy. Proves he should be offered more versatile work. He does very good in a special appearance.

OTHER TECHNICALITIES

The background score of the film does the major storytelling and it should be definitely commended. All the good points in the film, all the thrill has been brought out not by writing, but by powerful score.

Pratik Deora’a cinematography is also very good. The night portions are lit up well giving you a sinister and spooky feel. The production design is more stylish than realistic. It does the needful for the positioning of the film, but not very much for the real connect.

Editing by Sumit Purohit could be better in terms of offering some pace to the race. It’s very convenient.

How would you put such a film on scale? Judge it on the basis of what eventually came out or how it was shaped up. The film keeps you entertained, but it doesn’t justify in the end. It’s a true 50-50 affair.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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