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Prassthanam Film review: Sanjay Dutt, Ali Fazal Glow in a Narrative too stale and Obsolete to digest

Power drives you mad — you overlook the distinction between good and evil and do not think twice before hurting your nearest and dearest. That is Prassthanam at a nutshell for you.

There are moments when you wonder is the movie relevant after a decade. But that is with political dramas; they don’t impress. Prasthanam is a classic example of old wine in a new bottle — that the storyline is the same and faces are fresh.

The movie opens with a boy asking his stepfather if it is okay to kill somebody, and throughout the film, you see lots of references to mythological stories of Ramayana and Mahabharata. When Dutt signs that Fazal will be dressed to look after his political empire, that is when the narrative picks rate and Dubey is revealed resorting to each of unfair methods and offenses one potentially can consider. Can he manage to escape and convince Dutt to encourage him to betray Fazal? Can he succeed in getting the heir of their household? These questions find answers in a somewhat predictable nonetheless somewhat shocking method. Scenes where Dutt is revealed at a dilemma over that son to encourage without hurting his political situation, enroll in your thoughts.

Now the issue is there is very little concerning surprise by a south remake since the narrative is currently known. And so it’s just the performances that keep you thinking about any fresh twist or surprise component.

An intriguing political play exploring human character, complicated relationships, psychological turmoil, and desire for electricity, Prassthanam had a revamp, at least at the treatment of narrative and the screenplay. But some brilliant performances allow it to be watchable.

Dutt is strong and leaves an effect every time he’s on screen. It is nice to find a 60-year-old play with a character in his era and to try to look youthful. But for the significant role that Dutt exudes, the plot seemed a bit stricter.

Fazal gets all of the applause for portraying a strong-headed personality who’s suspended in his family values and knows principles and morals in life. Dubey, playing an almost parallel guide with Fazal, however with adverse traits, is a fantastic casting call. He plays the wealthy spoiled brat who does not think twice before reevaluate his money and position.

Shroff as Dutt’s loyal aide and brooding protector of 25 years maintaining his secrets seems ferocious from the close-up shows. Regrettably, though he’s not even one conversation until moments before the orgasm when you listen to him eventually talking that overly only one sentence. Panday, after Saaho, once more plays the poor guy and this moment, in conniving and funny colors.

There is a good deal of bloodshed, gun firing, experiences, political activities, filthy games being played over the parties and households — all quintessential elements of a political play. You will find several lost song insertions too and do not understand when Bollywood potboilers will be deemed complete without anything tunes.

One more thing that does not fit in the narrative is Amyra Dastur’s unique look and more, therefore, the adore angle with Fazal. She’s to do her political thesis on corruption in politics,’ but following introductory scene, she’s nowhere to be seen on shown researching or writing a sentence.