Yeh Kali Kali Angain Review: Pulpy Cocktail of Love, Revenge and Existential Fear

A still from Ye Kali Calo Angain.

A still from Ye Kali Calo Angain.

Starring: Tahir Rajbhasin, Shweta Tripathi Sharma, Anchal Singh, Saurabh Shukla,

Yeh Kali Kali Ankhen | Direction: Siddharth Sengupta

Episodes: 8 | Rating: 3.5 / 5

Siddharth Sengupta’s Yeh Kali Kali Ankhen’s unimaginable pleasures can be derived from its one – line introduction: A crazy story of love and power developing in the context of violent politics. Over the course of eight episodes, Sengupta and co-writers Anahata Menon and Varun Badola move in completely opposite directions, confirming that one reason why procedures are not fun is rare.

In the show, Vikrant Singh Chauhan (Tahir Rajbhasin) is a brilliant engineering graduate who grew up watching his father (Brijendra Kala) succumb to the demands of his employer Akheraj Awasthi (Saurabh Shukla) and is a corrupt politician. The city is at its toes. Vikrant wants to work in another city and build a new life with his girlfriend Shikha (Swetha Tripathi Sharma). His plans go awry when Awasthi’s daughter Purva (Anchal Singh) decides to work on a lifelong love affair for Vikrant. Cue, a triangular love affair in which no one succeeds.

Sengupta, best known for directing Balika Vadhu, one of the longest running series on Indian television, presents Yeh Kali Kali Angain as a show between comedy, criminal mind games and helplessness. It’s a show that knows how to have a good time because it’s a show where you do not feel self – conscious about your own experience. Sengupta gives his television sensitivity to the show, i.e. Ye Kali Kali does not strive for technical skills or intellectual attitudes as much as he does in focusing on world-building, character formation, and personal dynamics.

As a result, storytelling tools are commonplace – the first episode opens with a flashback and voiceover; The protagonist is equipped with a sidekick that he likes – and the tone is not the brightest, and is often guilty of slipping into melodrama. Still, it remains a bit of a hassle on a show where the storytellers are well aware of the story they are trying to tell.

Don’t look further into the show’s casting for proof. Bhasin, who used to play alpha supporting roles, turns into a layered performance as the show’s subdued romantic lead, elevating the show’s simple cat and mouse chase game. Bhasin is a magnetic presence on the show, someone who can make his mark in disliked moments, even while rehearsing how to mourn an impending tragedy or climbing buildings to break up an arranged marriage.

As most of the show develops within Vikrant’s tired mind, it’s nice to see a show recognize the value of performance and present an actor instead of a star. The same is true for Tripathi Sharma, Saurabh Shukla and Brijendra Kala – most of the actors who bring live stock characters without adopting a stereotype. The same cannot be said of Singh’s predecessor, a character written without determination or imagination. With Purva, the creators fall into the problem of old-fashioned screenwriting affecting female characters; In it, she ends up as a character with an illusion of power. Her powerlessness, in my mind, stems from the fact that it is never clear what she wants for herself. On the other hand, there are some who say that the creators choose not to push her into a completely negative light, burdened with the assumption that the female lead should be harmless even when harassed.

It also says that even in the weakest moments, Yeh Kali Kali Angain is a show that knows its own purpose – the themes of social hierarchy, the prison of love, and revenge as an economic balance are imbued in the subtext. It may not be a smart show, but it’s smart. In that sense, Yeh Kali Kali Ankhein is an example of a show that should reach out to the stars, but is satisfying in itself.

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