Visfot Film Review | Filmfare.com

Visfot, which means “explosion” in Hindi, immerses viewers in a slow-burn Mumbai noir experience that reflects the gritty style of producer Sanjay Gupta’s directorial pedigree. Directed by Kookie Gulati, this Hindi remake of the Venezuelan film Rock, Paper, Scissors (2012) immerses us in the dark and contrasting realities of Mumbai’s underbelly. The film begins with a high-stakes premise: Shoeb Khan (Fardeen Khan), a down-to-earth taxi driver from Dongri, accidentally loses a jacket filled with drugs belonging to a feared female don, Tai (Seema Biswas). Meanwhile, Akash (Riteish Deshmukh), a pilot, finds his world turned upside down when he discovers his wife Tara (Priya Bapat) is having an affair. As the day progresses, a seemingly simple mistake spirals into a chaotic, high-stakes mess. Shoeb’s lost coat sets off a deadly chain reaction that intertwines his fate with that of Akash, as both men are drawn into a treacherous game involving the ruthless mafia, corrupt police and their unsuspecting families. The story builds at the crossroads of their lives, revealing how their individual crises converge in a dramatic confrontation with destiny, exposing their vulnerabilities and moral ambiguities.

Despite the intense premise, the film struggles to maintain its gripping momentum after a while. The editing is the culprit here. The plot points are not in sync as they should have been and that completely sucks the attention of the viewer. The film hints at a gory climax and when it happens, you see so many bodies falling that it borders on the ridiculous. And mind you, our two heroes manage to avoid getting killed in the melee. But then, that has always been the norm in Hindi films and the director was simply following tradition.

Sheeba Chadha delivers a sterling performance as Fardeen’s mother, whose grief-stricken portrayal takes the film to new heights. Her powerful portrayal of a woman overcome by the loss of her husband is deeply moving. Seema Biswas also makes a memorable impression with her hauntingly nuanced portrayal of the female don, Tai. Fardeen takes some effort to watch as a Dongi boy, but once he gets going, he wins you over with his genuine effort. He manages to capture his character’s desperation and makes Shoeb sound real. Riteish Deshmukh adds considerable depth to Akash, skillfully conveying both vulnerability and inner conflict. He is the epitome of a father whose heart belongs to his son. This was supposed to be Fardeen Khan’s comeback vehicle, after Heera Mandi and Khel Khel Mein, where he played a nawab and a gay man respectively. He certainly shows his versatility, with his role as a reformed villain. Riteish Deshmukh is more reliable than ever and has shown that his repertoire is more than just comedy. You feel that Akash would go to any lengths for the safe return of his son. Priya Bapat’s portrayal of Tara effectively conveys the tragedy of a conflicted relationship. Though she loves her son and respects her husband, there is no love left between them, forcing her to take a lover and Priya brings all these layers with aplomb in her performance. Krystle D’Souza brings an enchanting charm to Lucky. She is the good girl who ends up in the wrong place with the wrong man and a lot could have been made of her struggles. Unfortunately, her role seems a bit underwritten.

Visfot is a thriller, but also a morality tale of sorts, pitting human greed against love and innocence. The universal appeal of the story is somewhat tempered by its uneven execution. The film, originally slated for a theatrical release, was released on Jio Cinema without much fanfare. The film remains true to the original in most parts and is reminiscent of Guy Ritchie’s films. Kookie Gulati is no Guy Ritchie, though he comes close to Sanjay Gupta 2.0.