Darr (1993)

Sohni Mahiwal / सोनी महिवाल (1984)

𝑑𝑖𝑙 𝑚𝑒𝑖𝑛 ℎ𝑎𝑖 𝑝𝑦𝑎𝑎𝑟 𝑡𝑒𝑟𝑎 ℎ𝑜𝑡𝑜𝑛 𝑝𝑒 𝑔𝑖𝑡𝑤𝑎

Chup Review

November 27, 2022

by Inakshi Chandra-Mohanty

Many films have been made on the film industry. Films that show the intricacies of the process through the eyes of an artist integrated within it. But few have shed light on the tumultuous relationship between a filmmaker and a film critic. The two professions are constantly at loggerheads. It’s a never-ending battle due to the refusal of each to understand the job of the other. Chup uses a fictional tale of a serial killer that targets film critics to comment on the filmmaker-critic relation. This psychological thriller relies less on suspense and more on the interesting characters and passionate story that attempts to burn bridges between the opposing professions.

The strongest aspect of Chup is the intrigue. The buildup of how these four characters and two parallel stories will converge. And the way in which the contrasting elements of the multiple narratives lead to an exhilarating climax. This is further enhanced by its passion for the art of cinema. Writer-Director R. Balki made this film out of a pure love for the process of filmmaking. It is an ode to classic cinema with many references to the art behind old school romance. It specifically pays homage to Guru Dutt and his classic film, Kaagaz Ke Phool, and focuses on the relevance of that film in the filmmaker-critic debate.

Though the film is a multi-starrer, Dulquer Salmaan is the star of the show. Elaborating on the details of his performance would reveal too much of the mystery, but his ability to transfer between the different shades of his character is brilliant. While the remaining actors do well in their respective roles, much of the film’s impact rests on his shoulders.

Where Chup falters, is in its investigative suspense. While the police chase of this brutal criminal is smart, the characters pursuing the case have barely any background or emotional depth. Despite having considerable screen space, Sunny Deol has little to do in the film. Though he and Pooja Bhatt do well in the roles written, they have little impact due to the lack of characterization. Their characters are nothing more than props in the investigation.

Despite these minimal flaws, Chup stands out due to the themes it explores, albeit in a jumbled state.

It is natural for a filmmaker to feel disheartened on reading a scathing review. However, it is also important all types of reviews to exist. Otherwise, there will never be a standard for good cinema, filmmakers will be stuck in the land of mediocrity and no one will aspire for any better. 

As a filmmaker and a film critic, someone who has seen both the blood and sweat that goes into the simplest details in a scene and someone who has watched countless films forming strong opinions on them, this divide is something I have witnessed myself. This is a battle I am constantly fighting within. That is why Chup resonates so deeply with me. It is a confused film, one which mirrors my constant confusion between the two worlds. Chup is the product of an artist and a critic, one that cannot differentiate between the two. That’s why the messaging of Chup is so muddled. Because on one hand it puts out valid points in the defense of film criticism and on the other hand romanticizes the life of an artist engulfed by the world of cinema and pained by the words of critics. 

Through its confused state, it is not clear whether Chup has a defined message. The struggle between art and criticism will continue to remain. But somewhere in the midst of all the craziness, there is a sense of peace. A calm that sets in only on the union of the critic and the artist. Chup is at its best when the two are together, making their monotonous moments come to life with their common passion for cinema. And that may be the message that the filmmakers strive to convey. That just like Chup reaches its highest peak through the bonding of the critic and the artist, cinema will reach greater heights through a combined effort. Both the critic and the artist are necessary to make great cinema, and neither works without the other.

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