Five friends are caught in a mess of their own doing. Four are killed in a drug-related crime. One goes missing. A video shot around 12 days before the crime till the time they are shot dead is unearthed by the police.
This video will help the cops and the viewer to trace the dots and nab the mastermind behind the killing.
The whole concept of the viewer playing cop in trying to trace the dots sounds convincing early on. But mid-way you give up playing a sleuth because the plot is favouring the narrator.
There are too many clues which are hidden right from the first shot and then that very first shot is shown again from another angle. Of course by then the movie is heading to a close and the director has to play ‘show’. He can’t play ‘blind’ anymore. The viewer is already confused.
CHARLIE KE CHAKKAR MEIN has a good concept but much of it is lost mid-way when the director fails to give even a hint of a clue to the viewer. Twisting stories for the convenience of screenplay is cheating the viewer and taking away his delight of playing the cop.
A good whodunit is that which gives enough clues to help the viewer to be engaged in the goings-on on screen. The use of the handycam footage to solve a crime is a good concept. The first half gets the characters to cross paths and somehow bring about a motive in play.
But the second half, especially the weak revealing of the mastermind behind the crime is a cruel joke.
After last week’s TITLI, Amit Sial impresses yet again. This time in a totally different avatar he drums up a superb performance. He is also credited with the writing of the film and is also the co-producer. A fine talent.
CHARLIE KE CHAKKAR MEIN had the potential of being a classic, but ends up way below average.
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