The AUR WOH CHAMAKTE SITARE as a whole took away the effect of trying to forcefully politicize and politicize the narrative.

Director Alankrita Srivastava did not produce waves with his directorial debut Turning 30 [2011]. But his second film is LIPSTICK UNDER MY BURKHA [2017] It gained worldwide recognition and was also successful at the Indian box office. That there was an attempt by the censors to make careless cuts in this ‘women oriented’ film, which caught the attention of the people. And now the talented writer-director Dolly Keety Ar Woh is back with Chamatek Citare. It has a stellar star cast and the trailer indicates that it is in the same area where my boyfriend is my burqa. So does DOLLY KITTY AUR WOH CHAMAKTE SITARE manage entertainment and engagement? Or does it fail to entice? Let us analyze.

Dolly Kitty and Chaomtek Sittare are the story of two cousins ​​who are trying to survive in a booming city. Radha aka Dolly (Konkona Sensharma) is married to Amit (Aamir Bashir) and has two children – Pappu (Kalpana Singh) and Bharat (Hardik Singh). Dolly and Amit have invested in a flat in an under construction building and cannot wait to shift to their new home. However, they are short of money and Dolly manages to get it from her office bank account through dishonest means. Her cousin, Kajal (Bhumi Pednekar) moves in with her family in Darbhanga after she runs away to avoid marriage. After failing to find a good job, Dolly has no choice but to find employment at the call center of the Friendship Club. Here, she is re-organized as a kitty. She leaves Dolly’s house, when Amit touches her inappropriately. In PG, he befriends Shazia (Kubra Set) and hangs out with her and her boyfriend, DJ Teja (Karan Kundra). At her workplace, she approaches Pradeep (Vikrant Massey) and she falls for him. Dolly, meanwhile, is dissatisfied with her sex life and becomes attracted to Usman Ansari (Amol Parashar), a young delivery boy. What happens next makes the rest of the film.

The story of Alankrita Srivastava is decent. The attempt to comment on patriarchy and the ideology prevailing in our society is laudable. But Alankrita Srivastava’s screenplay does not do justice to the plot. There is no proper flow in the writing and things happen randomly in the film. Also, there are a lot of subplots and not all of them are affected. Also, some plot points do not have a logical conclusion, especially regarding Dolly’s dream flat. The dialogues of Alankrita Shrivastava are sharp and talkative.

Alankrita Shrivastava’s direction is average. She was far better in LIPSTICK UNDER MY BURKHA, possibly because she was equipped with a better script. In Dolly Kitty Ar Woh Chamatek Citare, the script is not watertight, only a few scenes actually impact. Also, the biggest problem with the film is that Alankrita tries a lot to make the film as blasphemous as possible. Almost everyone in the film is leading a wild life – Dolly fantasizing about a young boy and stealing money from the office for the flat of her dreams, her mother (Neelima Azeem) tells her husband of her boyfriend Having left to live with Kitty, the romance is selling romance for Kitty, Shazia has a short-lived relationship, while Dolly’s co-worker Juhi (Pavlen Gujral) doubles as an escort. Also, Dolly’s son Pappu is a cross dresser. Meanwhile, Amit and Pradeep have also shared dark secrets. The attempt here is not to be judged or regressive. But when almost all the characters in the film are living a malleable dual life, it becomes too much to digest. And not to forget, there is also a political angle and this further complicates things.

AUR WOH CHAMAKTE SITARE as a whole begins on an interesting note and in no time, we get acquainted with Dolly and Kitty’s characters and their relationship with each other. The first half is quite scattered and one will not complain as one assumes that the director is trying to explain the setting and construction. But the same happens in the second half. On the positive side, some scenes are well executed, like Kitty’s first day at the call center, Dolly’s confrontation with her mother, the drama at the police station, and Dolly and Kitty putting their hearts on the roof. One hopes for a climax, but the way events unfold is difficult to digest. It is laughable to gather all of the main characters of the film, some of them from different cities or parts of towns, in one place. Had it been a Priyadarshan film, it would have made sense. But in such a realistic film, it is too much. The final scene of the film is mellow but not enough to enhance the effect.

The performances however save the day to an extent. Konkona Sansharma does very well as usual and gets into the skin of her character. Bhumi Pednekar also puts her best foot forward and leaves a big mark. Aamir Bashir is trustworthy. Amol Parashar is being supported, while Vikrant Massey occupies the first position in a supporting role. Kubbra set is quite good and he is given lead roles in films. Karan Kundra is decent in a small role. Kalp Shah has a challenging role, but pulls it off well. Hardik Singh has no scope. Neelima Azeem is excellent, though she appears in just one scene. Pavleen Gujral, Prabhat Raghunandan (Billa), Ghanshyam Pandey (Shahnawaz Pradhan), Nutan Surya (Nancy in the call center; aged staff) and Brijbhushan Shukla (property broker) are fine.

The lyrics are forgettable. ‘KhwabidaGets registered once in a while ‘Neat and’, ‘Bimari’ And ‘rap battle’ Failed to impress. Mangesh Dhakad’s background score is subtle and effective. John Jacob Payapalli’s cinematography is clean. Tia Tejpal’s production design is realistic and suits the film’s setting. The same goes for Rohit Chaturvedi’s costumes. Charu Sri Roy’s editing is passive but very quick on locations.

Overall, AUR WOH CHAMAKTE SITARE as a whole has an important underlying message, but the effort to forcefully diffuse and politicize the narrative leaves an impact. However, this may be the very reason that makes the film an important issue.

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