Ishaan Khattar and Ananya Pandey starrer KALALI PEELI rests on a wafer-thin plot and is overshadowed by many cinematic freedoms, minimizing such effects.

The Mumbai also became famous for films like Lingo Ronzilla, Munna Bheri series etc. and various films based on the underworld. Lingo has a charm of its own and sadly very few films are made late which are based on characters based on this dialect. KALALI PEELI tries to be an exception in this regard. This is a special film because it marks the beginning of SULTAN [2016] And tiger is alive [2017] Director Ali Abbas Zafar as producer. The chemistry of lead actors – Ishaan Khattar and Ananya Pandey has also been seen. So does Khali Pelli manage entertainment? Or does it fail to entice? Let us analyze.

KALALI PEELI is a crazy night-time adventure story of a boy and girl. Blackie (Ishaan Khattar) is a cabbie in Mumbai who drives the famous Kali-yellow taxi, popularly known as Kali-yellow taxi. One night, the taxi drivers are on strike. Blackie accompanies a pregnant woman on her way to the hospital. He agrees to take her and her husband to the hospital in exchange for Rs. 5,000. When he is on the way, some cabins catch him red-handed. They inform the union leader (Ashish Warang) who confronts them with some taxi drivers. While trying to protect himself from his attacks, he accidentally stabs one of them. He decides to flee the city in his taxi for a few days until the case is resolved. This is when he collides with Pooja (Ananya Pandey). She has lived in a brothel run by Yusuf Chikna (Jaideep Ahlawat) since she was a child. It was at a very young age that one of Yusuf’s clients, Choksi Seth (Swanand Kirkire), fell for her and decided to marry her when she grew up. However, she is not at all interested in him. So he steals a lot of money and jewelry from Joseph and runs away. When she comes across Blackie. Blackie decides to leave him outside the city and Pooja decides to pay him handsomely in return. Blackie realizes that there is a lot of money in her bag. He always wanted to get rich and so, he devises a plan to hand him over to Joseph’s goons. In return, Yusuf’s goon Mangya (Suyash Tilak) promised that he could keep the bag that Pooja had stolen and she would pay him the same amount. The plan was put in motion and Mangya managed to capture Pooja. But at the same moment, Blackie realizes that Pooja is the girl who was his first love. What happens next makes the rest of the film.

The story of Sima Agarwal and Yash Keswani rests on a wafer-thin plot. Sima Aggarwal and Yash Keswani’s screenplay avoids giving the film a degree of leeway. However, the script loses steam in the second half as nothing exciting happens after a point. Sima Aggarwal and Yash Keswani’s dialogues (dialogues apart from Sooraj Giani) are funny and some smart, tapori-style one-liners.

Maqbool Khan’s direction is stylized and clean and he tries his best to convert the simple script into an attractive price. And he managed to do so in the first half. But when the material is not exciting enough right now, how much direction can help? In addition, the film has a lot of cinematic independence. Initially, one will not mind but later on, it becomes difficult to digest. And although the film is essentially spice entertainment, it has a slight setting. This can go against the target audience of the film.

Despite the absence of logic, the first half of KALALI PEELI is quite entertaining. The trademark spice film stamp appears in some scenes, most notably Blackie changing from a child to an adult. There is interest in the flashback part and there is also a fun conversation between Blackie and Pooja. The intermission point is dramatic. The second half is short but this is where the film really slips. The back-and-forth narrative becomes too much after a point. The track by Inspector Bhim (Satish Kaushik), though jokingly, is forcefully inserted into the film. The finale is nothing special and is instead long drawn and predictable.

Ananya Pandey worked with Trolls, her mother’s message, Khali Yellow, Ishaan and Karan Johar

Ishaan Khattar is quite confident when it comes to performance. He sees Mumbaikar every inch a road and he also adds the entertainment part of the film. Ananya Pandey looks stunning and performs much better than her previous two films. She shows promise and looks confident in her action sequences as well. Jaideep Ahlawat is gracious and littered with the screenplay. Swanand Gritty is strictly fine and his track does not reach a logical conclusion. Suyesh Tilak is impartial. The same goes for Zakir Hussain (Inspector Tawde). Satish Kaushik’s comic timing is spot-on but the character is only added to the film. Vedanta Desai (Youth Blackie) and Deshna Duggad (Youth Pooja) do very well. Ashish Warang, Anoop Soni (Blackie’s father Ravi), Vaishale Thakkar (Khala) and Kasturi Banerjee (Dancer) are decent.

Vishal-Shekhar’s music is very disappointing. The film should have a chartbuster. ‘Duniya Sharma Jayegi’ Okay. ‘Shana Dil’ Played in the background and is forgettable. ‘Thirty ness’ Compelled, but well choreographed. Sanchit Balhara and Ankit Balhara have a significantly better background score.

The cinematography of Adil Officer is stylish in some scenes. But the scenes should have been brighter. Parvez Sheikh’s action makes for a good watch. The costumes of Natasha Charak and Nikita Mohanty are glamorous, especially worn by Ananya Pandey. Durgaprasad Mahapatra’s production design is realistic. Editing of Rameshwar S Bhagat could have been slow, especially in the second half.

Overall, KHAALI PEELI rests on a wafer-thin plot and is filled with a lot of cinematic freedom, minimizing such effects. In addition, the decision to release the film on a pay-per-view model may also go against the film, at an exorbitant price.

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