कोड नेम: तिरंगा
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One of those movies you see with Parineeti Chopra and then keep to yourself.
These kinds of movies mostly focus on brains and muscles; none of those things is present in this one.
What’s Good: Modern theaters provide incredibly comfortable, well-cushioned chairs that let you nap anytime you want.
Plot:
A passable song fast-forwards their journey as Ismat (or Kismat with K silent because there’s no “knack” of performing anything natural here) runs into Ali Mirza (Harrdy Sandhu) in Afghanistan while riding in the same taxi. They both head to Pyaar Nagar.
Back to work: Ismat is really Durga, an undercover police officer dispatched by R&AW, and she is taking advantage of the kind, naive doctor Mirza. Because Khalid Omar (Sharad Kelkar) attacked the Indian parliament in 2002, she wants to get rid of him. What about the people you haven’t added to the internal attack? Ismat’s kismat again causes her to unintentionally cross paths with Mirza in Turkey on her way to Omar. We all know what she had to pick when she had to decide between her love and her nation.
Examining The Screenplay:
Although Ribhu Dasgupta’s idea is fantastic and undoubtedly would have made a compelling one-liner, problems arise when you try to expand on it. This movie boasts of terrorists who use their picture as their phone’s wallpaper, a Call of Duty-style (FPP) climax that was handled much better in Force 2’s, reaching the main antagonist who is miles away while wearing a blindfold simply because you were in the same condition when you met him previously, and many other things that show how little homework was done before making this decision.
Speaking of “no homework,” isn’t it ironic that you are creating a narrative around the nation’s most intelligent “Research and Analysis Wing (RAW)” while lacking the necessary information to support it? These kinds of movies mostly focus on brains and muscles; none of those things is present in this one. The cinematography of Tribhuvan Babu Sadineni makes a valiant effort to keep one department, if not more, out of the turmoil, and he succeeds admirably in doing so. Aside from the COD mess, the camera work is ultimately flawless; nonetheless, Parineeti’s face is easily hidden by a burqa or other face-covering mask so that the body duplicates may perform their duties.
Editor Sangeeth Prakash Varghese had a lot to cover, thus the 137 minutes felt more like 180–190 minutes at times, as he was eager to see the “The End” board.
Star-studded Performance:
Parineeti Chopra has some parts when she hams it up like there’s no tomorrow, and she is officially the worst “smoking face” in Bollywood. Other significant facets of her personality are killed by her incessant urge to seem and feel “cool.” I used to think that I was the only one with a terrible love story until I saw this movie, but you have to see what even Parineeti’s Ismat and Harrdy Sandhu’s Mirxa are up to.
Sharad Kelkar is never able to perform at his best because of his shallow and naive opponent. I’m really disappointed that Harrdy Sandhu missed the opportunity to sing “Saari umar main joker jeha banya reha, tere piche eh zindgi circus ho gayi.” Sandhu has shown he’s better than this, following after his spectacular 83 debut. Rajit Kapur and Dibyendu Bhattacharya are among the talented actors that were let down by a simplistic storyline.