“So only the life were a book, I could turn the pages behind,” known as the protagonist Megha voice-with-top of after it breaks with its death.
Alas, by then the piece of ground also went its manner - broken in pieces under the weight of its own improbabilities.
“Chehra” is an extremely ambitious film. Too much ambitious for its own good. The gifted author Saurav Shukla wants to make a film which awkwardly handles its nose with conventions of case. Its heroin is a pretty coed of eccentric (enough than the eccentric, one would think) of the psychiatry which breaks a taxi when its driver is coarse with it.
Completely to start breakable. But if you expect an account with suspense like the “guarantee” where the tale of the cabbie starts with a similar attack on its vehicle, you are inside for a shock. “Chehra” attacks us manners which are not completely the creative ones awake the call which one would expect.
Torsions and the turns in the tormented tale of Shukla of the should' ve of psychological warfare maintained to you stuck to your seat. They make just the opposite. If action-charged and character-defied is the account which you speak in favour silently of a certain sign of quiet normality.
But a no such chance. “Chehra” moves by embrouillement dark events which are not necessarily added until a cohesive piece of ground.
The film is widespread with the maltreated and perverted characters. The orders showing the mother of Megha (Navnee Parihar) beaten by her husband are particularly ugly. Much later we rather obtain a jolt action-rejouons of the same situation in the marriage of Megha when her husband (Irrfan) maltreats it, taunting its whole time about the terrible destiny of his/her mother.
At the time when you start to wonder whether Shukla suggests a cycle karmic and a genealogical bond behind the wife beating, Bipasha suddenly changes grimace into a grimace.
“Ha, ya deceived! I only acted. Very good action, not? ” exclaims like Dino, playing the contracting with a narrowed individual-value, tests with seeming shocked and disillusioned.
More creditable for than it tries to realize than what finds by chance finally, “Chehra” is one of these pieces of ground of film-black of originator with abnormal characterizations encumbering the fabric without creating a credible world or even engaging.
It is perhaps the only account with suspense lately which does not seek the inspiration of Hollywood. The originality not accompanied by virtuosity is practically futile.
It is not the first time that Bipasha played a psychologically traumatized character. It was spooked rather outside in “Raaz” of Vikram Bhatt. More recently in “Madhoshi” of new-director Tanvir Ahmed, it played a schizophrene whom in love imaginary “sees”.
In a happy way, there is nothing imaginary about Dino Morea. Playing its patient doctor, it planes around impatiently test to trace a logical circle around the central history of love. Its efforts are mainly guided by not very reasonable concerns of the piece of ground.
In the test to remain several stages in front of the viewers, “Chehra” falls flat on its face. There is too much action, not enough of respite for the reaction. In the absence of porous interludes, the account exudes suffocating and will have tightened it, not supporting to imply the attention of the assistance the manner an account with psychological suspense is meant with.
Song-breakage are Waterloo finale. In a song Bipasha makes has Barbie-headstock-in-Britneyland the act about the way in which she wants to cool just.
Forget the cold and quivers, “Chehra” is not in mood to provide any of those. What obtain is an account which is timidly different. Saurav Shukla is not afraid of the entry in dark sectors. So only it could let to us see a certain light at the end of the tunnel.