Shor in the City

Shor in the City is a terrific film. It's surprising and disturbing and has a vein of rich, dark humor coursing through it. With great skill and inventiveness, directors Raj Nidimoru and Krishna DK capture the chaos, absurdity and cacophony that constitutes India's maximum city: Mumbai.

Shor in the City may be another dekko at merry, murky, mad city Mumbai but not once do you get a sense of deja vu. And that's because this one's a completely quirky cameo on a city that continues to hypnotize people with its chameleon hues. The film posits the metropolis as a character in the film.

A living, breathing slice of busy Mumbai, this film has dark humor running through its veins: whether it's the opening scene in which Tusshar and his partners rob a prominent author, or the scene in a restaurant's toilet where Pitobash gets even with a former acquaintance. There is comedy even in the film's dark climax, which for me was the only baffling portion of this film.

What makes 'Shor In The City' an instant clutter-breaker is its darkly comic treatment. It makes you smile because its humour comes from within.

Shor In The City is a classic instance of one of the finest screenplays written with phenomenal editing (Ashmith Kunder), all this shot crisply -- the attention of the camera zooming at certain instances leave you captivated, too overwhelmed to react, because this film, dear spectators, is made to kick you off-guard.

Shor, or constant noise, is clearly the irrepressible energy of the Mumbai air. Was Suketu Mehta's stupendous Maximum City a film, it'd come close to this. No prizes for guessing, pirate Tilak is really fond of Paulo Coelho's Alchemist!