![]() Well, maybe she can learn something from Massey. However, the writing, the direction, and her subpar acting chops keep her from shining in any way whatsoever. But, credit where credit is due, this should’ve been a slam dunk because she gets to be front-and-center in a movie with Vikrant Massey and Chitrangada Singh. However, she is the weakest aspect of “Gaslight.” Look, she gets constantly berated for being a nepo-baby and for the projects that she chooses. When it comes to the performances, Sara Ali Khan is supposed to be the lynchpin of the film. The final moments of “Gaslight” have some dynamic imagery and lighting, but it’s too little, too late. However, the execution is so amateurish that those moments feel unintentionally hilarious. ![]() Kirpalani tries to scare you with the editing and sound design. Instead, they just ended up with muddy and ugly frames. Why? Well, I’m assuming they thought that the dark images would complement the “dark” tone of the story. This is clearly a choice made by Kirpalani and cinematographer Ragul Herian Dharuman. By the way, the movie doesn’t look like this by mistake. If you are really interested in watching this film, I’d suggest adding a plug-in that increases the luminance of your screen to 9000 because that’s the only way you’ll be able to actually see what’s going on. It always looks like someone has turned the brightness down to zero, be it on land, during the daytime, at night, in an exterior setting, or in an interior setting. I am using the term “viewing experience” very loosely because you can hardly see anything in “Gaslight.” Since the first few frames of the film are underwater and hence incredibly murky, I thought that the rest of the film wasn’t going to look like that. They discuss plot details but rarely talk about what they’re going through, thereby making for a dull viewing experience. None of the characters have a conversation. Just like any bad horror movie, “Gaslight” just seems like an endless barrage of exposition. I think they try to show that the character’s “villainy” is the result of years of oppression and torture, but the writing is so bad that his actions feel heinous and not an act of rebellion. However, since the film ends up painting the individual from a minority community as the big bad villain of the story, it does more harm than good. Sharma and Kirpalani even try to talk about the infidelity of upper-caste men, but how they are the first to react violently when anyone else does the same things they do. To be fair, Neha Sharma and Pavan Kirpalani want to say something about the fake benevolence of upper-caste and upper-class people and how that can scar the lives of people from minority communities in “Gaslight.” But, given how they spend a majority of the film’s plot on red herrings and a ghost and then dump the anti-casteism aspect of the narrative on the characters and the audience at the last moment, it fails to be impactful in any way. And with the entry of her distant cousin, Rana (Akshay Oberoi), and SP Ashok (Rahul Dev), it becomes apparent that Ratan’s disappearance and the supernatural sightings have something to do with antagonizing Meesha and getting her to sign away her half of the estate. ![]() Matters get worse when Meesha starts to see Ratan’s ghost roaming around in the halls of the palace. But the primary thing that’s on her mind is Ratan’s absence, especially since he’s the one who requested her to return. Meesha clearly hates Rukmani for splitting up her family. The people who occupy her home are her stepmother Rukmani (Chitrangada Singh), Ratan’s employees Kapil (Vikrant Massey), Padam Kaka (Vinod Kumar Sharma), Lajjo (Ashmita Jaggi), and several other workers. She’s apparently the daughter of Ratan (Shishir Sharma) and Gayatri, who lost the ability to walk after an accident. Then we travel to Morbi to see Meesha (Sara Ali Khan) returning to her palatial home. Co-written with Neha Sharma, Pavan Kirpalani’s “Gaslight” opens with the death of a woman.
0 Comments
Leave a Reply. |