What Is the Story About?
Moving on from his criminal past, Shoaib begins life afresh as a taxi driver. However, a past acquaintance Manya, a henchman of a don Acid Tai, leaves him with a drug consignment, which goes missing after a minor fire accident at his residence. Meanwhile, a pilot Akash leaves his son with Shoaib’s girlfriend Lucky, to check on his cheating wife Tara. How do Shoaib and Akash’s destinies collide?
Performances?
Riteish Deshmukh is undoubtedly the show stealer in Visfot, coming up with a credible, controlled performance as a man in a troubled marriage who goes out of the way to save his son. Fardeen Khan’s portrayal, although not explosive, passes muster, cast as a driver looking to redeem himself. Krystle D’Souza, as Shoaib’s love interest, gets enough scope to shine.
Priya Bapat continues to be a consistent performer who changes her hues admirably across every project. Sheeba Chadha brings much-needed warmth and niceness to her portrayal of an amnesiac mother. Seema Biswas in an extended appearance is superb in the shoes of a feared don. The child artiste Prithviraj Sarnaik displays a good screen presence in an appreciable performance.
The supporting cast – comprising Purnendu Bhattacharya, Nachikhet Purnapatre, and Satayjeet Kadam – complements the cast efficiently, delivering neat performances.
Analysis
An adaptation of the popular Venezuelan film Rock Paper Scissors (2012), Visfot is a crime thriller about a pilot and a reformed goon that unfolds in a day’s span. Kookie Gulati, the filmmaker behind The Big Bull, Dhoka, and Prince, localises the premise in Mumbai with great flair, constructing a rooted, identifiable ambience while retaining the spirit of the original.
As much as Shoaib wants to distance himself from the world of crime, his past catches up with him, when a drug consignment, unexpectedly, drags him into trouble. He has an ageing mom suffering from amnesia and is in a steady relationship with a waitress Lucky. All hell breaks loose, when he needs to guard their safety and a pilot’s son proves to be a ticket to their happy future.
The film establishes the worlds of its pivotal characters efficiently in the first hour. While Shoaib is trying to transform for the better, a tricky situation forces him to hold a child hostage. Akash’s family life is nothing short of a paradise – with Tara and Paddy – until he catches his wife with another man in a hotel. Before Akash and Tara sort out their mess, they need to secure their son.
The detailing in the story is crisp, precise and doesn’t confuse you with too many subplots. The director only tells you what’s necessary to drive the story, but does so honestly. With smart, minimalistic writing, the plot progresses quickly, leaving the viewer gasping for breath. The creative choice to utilise a menacing female gangster as the antagonist is particularly impressive.
The narrative predominantly focuses on a pilot, a taxi driver, a waitress, a gangster’s henchmen and a set of cops. The tension in the film is built and sustained well sans much distraction and the conflicts are juicy. Besides conquering their inner demons, Shoaib and Akash need to protect their families and confront several obstacles in their path. Akash’s bond with his son and the references to Simba and Mufasa are brought to the fore beautifully too.
The strength of the film, in addition to the sharp screenplay, is its flawed characters. Everyone is in a mess, in varied proportions. Akash refuses to admit his inadequacies while pointing a finger at his wife’s infidelity. Despite best attempts, Shoaib is forced to return to his crooked ways. A suspended cop wants to use the high-profile kidnapping case to make a quick buck.
Visfot has the critical ingredient a quality crime thriller ought to possess – establishing the helplessness of its characters (they’re pushed to the brink), where money reigns supreme and the system can do little to protect them. With good casting, neat performances and praiseworthy execution, the compact film makes for ideal viewing on OTT.
Music and Other Departments?
Amar Mohile’s background score keeps the zip in the proceedings intact, though the songs by Amjad Nadeem Aamir aren’t worthy of a look-back. The film is mounted with taste as Shikhar Bhatnagar’s cinematography manages to capture the restlessness of Mumbai across varied backdrops, switching between day and night. There’s an undeniable realism in the action choreography and the screenplay is an asset. The 130-minute duration is tight enough to hold a viewer’s interest.
Highlights?
Impressive performances
Sharp screenplay
Localised well for a Hindi film
Drawbacks?
Slow to take off
A slightly chaotic climax
Did I Enjoy It?
Yes
Will You Recommend It?
If you’re game for a slick thriller
Visfot Review by Binged Bureau
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