[ad_1]
With cop dramas and crime thrillers being made in galore, what makes one a cut above the rest? Randeep Jha’s Kohrra is a classic case study that will provide you the much-needed answer. And that’s because the series goes above and beyond than just being a crime thriller about two cops trying to crack a couple of cases that are profoundly intertwined with one another. The template might not be too different than others. In fact, it is as formulaic as one can get. Kohrra is set in a small town in north India, the characters are not just fighting the system but also their inner demons and are caught in unconventional and illicit relationships. It is grimy, gory and grisly.
But kudos to the duo of Gunjit Chopra and Diggy Sisodia, who have impeccably fleshed out each character and explored their messiness and intricate nuances and made them look real, vulnerable, inspiring, undesirable and flawed, all at once. Here, each character is deserving of a spin-off. The screenplay is thrilling and rarely drops pace. Yes, one may feel like there are too many subplots and subtexts unravelling almost at the same time but it only makes the narrative gripping. Each track is given complete justice. Having said that, Kohrra makes you uncomfortable and takes time to seduce you into its world. Themes like extramarital affairs, borderline incest and queer relationships form a part of the narrative but the writers make sure that nothing appears trite, titillating, preachy or contrived.
Set in a small town called Jagrana in Punjab, Paul, an NRI groom, is found dead right before his wedding day. His best friend, Liam, also goes missing. Thus begins an investigation by a senior cop, Balbir Singh, and his junior, Amarpal Garundi. But there are more skeletons in the closet and thrown into this mix is Paul’s fiancée Veera, her ex-boyfriend Sakaal, Paul’s cousin and a truck driver. On the other hand, we get a glimpse into the life of Nimrat, Balbir’s daughter, who has returned home with her son after being stuck in an unhappy marriage for years. Both Balbir and Amarpal are at a crossroads as they not only try to unearth the murder but also navigate the complexities of their personal lives.
True to its title, Kohrra has a mood and vibe of gloom and grey looming large reflecting the muddled state of mind of its characters. Cinematographer Saurabh Monga deserves brownie points for capturing the essence of the heartland of Punjab with aplomb. That, coupled with the writing, makes the series a true winner. Many times, it may make you feel stifled. You might judge the characters but by the end of it, your heart goes out to their agony and you end up rooting for them. At its core, Kohrra is all about making difficult and risky choices and that will tug at your heartstrings. Here, nothing is wrong or right and nothing is black or white, but it is all about the greys, both literally and metaphorically.
Yet another aspect that works in the favour of Kohrra is its crisp editing. There are hardly any moments that make it a lacklustre affair despite multiple still shots and slow-motion sequences. They only add a significant layer in establishing the characters and their chaotic and cluttered lives and dilemmas. Intimacy also plays a key role in the narrative but is never used as a device to grab eyeballs. It almost becomes a seminal tool that becomes like a prelude and adds character and substance to the storyline.
Producer Karnesh Ssharma’s Clean Slate Filmz deserves a special mention here. Having carved a niche for itself and consistently standing out from the crowd at a time when content fatigue has become a real issue, it backs another story that cements the fact that a story well told will leave an indelible impact.
What helps elevate the writing are solid performances from the cast. Suvinder Vicky hits the ball out of the park with his gritty portrayal of Balbir Singh and is a revelation. He has an arc that violently fluctuates between the crest and the trough, and even though you might not like him all the time, his earnestness and struggle to grapple with emotional upheavals touches your heart. By the end of it, he draws your sympathy and pity as a pawn in the hands of the system and a beat-up father trying to do the right thing.
Barun Sobti, over the years, has earned the moniker of a chocolate boy next door. In Kohrra, he’s seen delving into the unknown and you can clearly see him stepping out of his comfort zone and pushing the envelope with his portrayal of Amarpal Garundi. Caught in an unusual sexual relationship, Amarpal is an honest and diligent cop who is also looking for love. Barun surprises you, shocks you and proves to be a risk-taker. He slips under the skin of a Punjabi boy and grasps the nuances of the character, rather impressively.
But it is Nimrat’s character that is the most well-written and fleshed out. Harleen Sethi delivers the best performance of her career in Kohrra. She lights up the frame with her screen presence without trying too hard. She aces the emotionally intense scenes like a seasoned artist. In a scene, she is seen having a difficult conversation with her father where she not only questions his parenting skills but also rues succumbing to patriarchal norms and having a child against her own wish. Harleen shines bright in it. Her Nimrat constantly walks the fine line between morality and borderline depravity, but you want her to win against all odds.
And to see male writers putting together a character like Nimrat deserves applause! Kohrra might largely be about its men but the female characters stand out too. Ekavali, Ekta Sodhi, Anand Priya and Rachel Shelly’s portrayal of intricately convoluted women will stay back with you despite their limited screen time. They maybe victims of the patriarchy but are unafraid to listen to their hearts no matter how questionable the repercussions of their actions may be. What a treat it is to witness these ‘dubious’ characters silently challenging the status quo!
The men, particularly, Manish Chaudhari and Varun Badola, do a good job. Kohrra manages to become a trendsetter without trying to be one.
[ad_2]
Source link
