October 11, marked the release of Alia Bhatt’s highly anticipated Dussehra film, Jigra. Actor Vedang Rana makes his major Bollywood debut in the film, which is directed by Vasan Bala. Jigra is predicted to have a mediocre opening weekend at the box office, despite the fact that the filmmakers spent plenty on marketing the movie and attempting to capitalize on the presence of a celebrity like Alia.
The movie is an action thriller about a jailbreak, a genre that isn’t very popular in India right away. A movie like Jigra is sure to open in the single digits at the box office unless it receives extraordinary word-of-mouth, which will be decided at the end of the day.
A Striking Contrast In Alia Bhatt’s Persona In Rocky Rani And Jigra
Before entering a room to visit her brother Ankur (Vedang Raina), who has been falsely accused of being involved in a narcotics scheme on a secluded Southeast Asian island in Jigra, Satya (Alia Bhatt) asks an officer, “How do I look?” Satya has a unique bond with her brother. There is no sister like her. Then, Vasan Bala presents us to a younger Ankur and Satya, revealing more of their relationship to us. Therefore, there is sufficient background information for these characters to proceed and make specific decisions when the plot darkens and becomes serious.
Compared to her chiffon-clad persona in Rocky Rani or even the raw Gangubai, Alia’s acting in Jigra is different. She discovers content as Satya, which allows her ample freedom to explore new territory. Jigra’s trajectory for Alia is excellent. Her angry scenes feel genuine and natural; it’s not as though she’s acting them out from written words.
Bala’s method for assembling the movie has much to do with this. Bala focuses more on keeping things basic, making the movie’s first half more likable even if the picture stars one of the greatest actors.
Emotional Moments Get Lost In A Predictable Revenge Drama
Conversely, Jigra would have been a far superior movie if the plot hadn’t been so straightforward. You want to be emotionally involved in a revenge drama as a viewer. Bala gives the movie a decent start, but it quickly comes across as a one-dimensional attempt to develop and craft significant scenes around his lead actress. The entire picture revolves around a weak brother-sister angle, so weak that it doesn’t take long for the thread to break.
The movie gets boring when the storyline becomes uninteresting and you can already predict how the climax will play out. Manoj Pahwa and other supporting characters have a more well-developed past and character journey than Vedang, who is genuine in what little—and actually not much—is provided to him. The film seems to drag on during the last twenty minutes of the climax, making you want it to finish.
Jigra gives Alia plenty of opportunity to produce some great moments. However, rather than developing an intriguing story around her, the majority of the movie feels like an attempt to capitalize on her celebrity. The fact that Alia’s character never gets to meet the family who harmed her brother is my biggest pet peeve. The movie closes on a poignant note, but feelings are only effective if the plot holds your attention. Although Jigra is a fantastic addition to Alia’s filmography, it falls short of a message film.
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