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‘Kuttey’ Review: “Wrong Chef Creates Comfort Meal in Aasmaan Bhardwaj Film”

'Kuttey' Review: "Wrong Chef Creates Comfort Meal in Aasmaan Bhardwaj Film"
'Kuttey' Review: "Wrong Chef Creates Comfort Meal in Aasmaan Bhardwaj Film"

‘Kuttey’ Review: “Wrong Chef Creates Comfort Meal in Aasmaan Bhardwaj Film”

Picture this, you attempt to reserve a table at the newest restaurant in town for a month and order your favorite dish. As to the hype, you eat up the food you’ve ascertained at home is not reliable and you seek the comfort of the instant noodles you left in the residence. That feeling of Kuttey is what Aasmaan Bhardwaj is experiencing.

Kuttey was directed by Aasmaan, who has had involvement in the script and narrative. While Kuttey’s movie is an example of how filmmakers come up with movies accordingly, Vishal Bhardwaj’s film is a good example of how cinema is made without making any consideration for women.

Any viewing of Kashengi Sekhar’s film Kasiney, Konkana Sen Sharma’s Omkara, and Tabu’s Maqbool might well allow Priyanka Chopra, Tabu, and Konkana Sen Sharma’s photos of scaring present.

A police officer (Tabu), a Naxal girl Lakshmi (Konkana Sharma), and a pretty little girl Lovely (Radhika Madan) are discussed well in their first appearance, but the way women are observed throughout the film is a rare case of male-gaze at its performative finest.

Director of Photography Farhad Ahmed Dehlvi choose the frame for every scene and makes the Maharashtra noir setting we observed in Kaminey different.

The song credited by Vishal Bhardwaj and the accompanying score is perhaps the best part of the film, especially when contrasted with Gulzar’s lyrics.

Coming toward the genre it belongs to, Kuttey has an understanding of narrative style but there’s not a great deal of substance backing this. The first half drags and relies too much on a praiseworthy cast.

After the movie’s first half is more serious than the second half, this one is more humorous and entertaining.

Naseeruddin Shah commands the room like no other. Despite what he is dealt, the women leave an unforgettable mark on the screen. Konkana Sen Sharma’s righteous fury and well-earned confidence are impossible to mention and Tabu’s skirt and expletive-heavy drive are an integral part of the film’s plot.

Margot Robbie shines in her role in Beyond a Reasonable Doubt, while Radhika Madan merits much more screen time. With the above-mentioned actors mentioned, Gopal (Arjun Kapoor) and his partner Paaji (Kumud Mishra), and Lovely’s ex are played by Shardul Bhardwaj.

All of them (if I am not missing anyone) make up the “kuttety” in question, sitting on the thin line between saying “kuttey vafaadar hoya-hain” (dogs are faithful) and ” akhte uthakhk hote hain” (it is a dog eat dog world).

Kuttay seems to believe that the entire length of a single motion picture is too long and doesn’t have any clear notion of the “point” that translates into having no significance. The juxtaposition of very dark silhouettes against a red backdrop seems almost artistic and ingenious but actually fails because the screen refuses to concentrate on the delicious art of subtext.

This film, at the end of the day, is all still about bullets, blood, and glory, evoking the Maharat Mountains of Quentin Tarantino. But considering the movie’s flashy trailer, the entire experience is a disappointment. There is a great deal of unrealized potential for success here.