Main Aur Charles is unequivocally charming film. Just like it’s fatal subject, Charles Sobhraj.
The film starts off with an overarching tinge of 70s’ and 80s Bollywood (think Bachchan in Don, finish with bell bottoms et al). Music and stylized visuals tell us about Sobhraj’s indeterminate history, that is steeped in a hippi enlightenment in Thailand. Soon,the screenplay moves on to Sobhraj’s seizure in India in a Eighties and his famous jail-break.
Charles Sobhraj, of French and Indian origin, nicknamed “The Serpent”, or “bikini killer”, was a murderer, convicted for during slightest 12 murders in Southeast Asia. His shun from India’s many rarely rhythmical prison-Tihar Jail in 1986, finished him famous. But his torpedo attract finished him popular—both among a media and apparently some 30 peculiar women.
In Main Aur Charles, writer/director Prawaal Raman (better famous for Darna Mana hai), along with Randeep Hooda have nailed that unscrupulous puzzling peculiarity of Sobhraj. And a categorical arms of fatal interest to a senses is Aditya Trivedi’s thesis music.
Be it in a character with that he wears his shawl or a phony eyeglasses or the side-parting wig, though all these factors make Hooda a plausible Sobhraj. It’s in a ideal cover physique denunciation of a deceptively dressed lady of polished tastes. It’s in a approach he bends over a record actor to play a French strain in jail, mins before he escapes. It’s in a comical half French accent, that creates we forget his Haryanvi antecedents. It’s in a pointy demeanour in his eyes that remind we of a disagreeable mind during work. It’s in a approach he sits cross-legged and adopts that roughly submissive look.
He is simply Randeep Charles Hooda. Hot and dangerous.
With such a silken-mannered actor in place to play a well-spoken operator, half of a director’s pursuit is done. But Raman delights as he stylises a film with cinematography and plays with light and shadows.
However, it contingency be pronounced that while he displays poise over a soundtrack, colour tones, actors, camera work, demeanour and feel, Raman falls brief on a book department. It may make clarity to bypass Sobhraj’s whole charming life story and tell essentially a categorical Tihar jailbreak event, though unequivocally small element is explored to tell an effective, holistic story.
Since Sobhraj’s tangible shun can be told in twenty minutes, a book weaves in a illusory and glamorous Bollywoodised underworld. The initial half takes us to Thailand, along with Sobhraj’s jaunts with Liz (Mandana Karimi, who is now on Bigg Boss deteriorate 9) and afterwards moves to a heterogeneous Goa nightlife, full with musical dances and bikini clad foreigners. It takes time to settle into a story with mixed timelines revelation a tour that doesn’t supplement adult to much.
The tract touches on a humorous and some-more authentic method of goof-ups by cops and a confused energy play between Goa, Mumbai and Delhi military fighting for a Sobhraj prize. The Mumbai cop, Sudhakar (Nandu Madhav) is some-more plausible than a categorical Delhi cop, Amod Kanth (Adil Hussain).
The story is told from Kanth’s indicate of view, hence a title. Both Hussain’s characterization and performance, along with his interactions with his mother (Tisca Chopra) are slightest convincing and break what could have been a some-more heated partial of a film.
Main Aur Charles finds a slit in a second half with Kanth during a helm, following adult on Sobhraj’s 4 accomplices, including his law tyro girlfriend, Mira (Richa Chadda).
Chadda has one good stage where she tries to remonstrate how misunderstood the criminal Sobhraj unequivocally is. Her blind adore and faith is good prisoner in her austere expressions and lines. “He (Charles) can shun though no one can shun him,” she says.
You don’t unequivocally mind a blank hard-boiled plot, since by a time a film ends, we are treated to well-shot frames and a extraordinary thesis music. Style wins. The betrayal is complete.