AndhaDhun is a film of numerous delights. Also, the important among them is the sudden thrill which will give a chill to your spine. For most of the film, you’ll be hooked to the big screen. Everybody knows how a mystery should work and Andhadhun has done justice to the concept of mystery.
Ayushmann Khurrana is Akash, a visually impaired piano player who winds up involved in a mess. However, this isn’t a whodunit. Like in his best movies – Ek Hasina Thi, Johnny Gaddar and Badlapur – Raghavan is keen on investigating the murkiness that lives inside the hearts of conventional individuals. A couple of the characters in AndhaDhun are plain improper, some are effectively corruptible, and everybody has something to stow away.
Akash is at the focal point of the story, yet there’s a great deal going on in the film. For a situation of virtuoso throwing, days of old film star Anil Dhawan plays Pramod Sinha, a day of old film star still hung up on his brilliance days. He’s hitched to the alluring Simi (Tabu), who doesn’t share his energy for watching his old hits again and again. Radhika Apte is Sophie, a young lady who becomes friends with Akash, and into this blend, Raghavan tosses in a collection of supporting players. It’s important that each character – regardless of how little the job – fills an unmistakable need in the content, including a shrewd child, and an arbitrary hare.
The erratic chain of events in AndhaDhun seems to happen at the time – one mishap prompting another, one wrongdoing setting off the following. However, no doubt about it, Raghavan and his co-journalists practice tight control on the characters and their activities. In a way, astutely arranging each development in the plot according to a bigger structure. The content uses humour – spots of the dim kind – as the body check rises, as often as possible to make you laugh.
In the second half, in any case, things become particularly tangled, and a peculiar organ-pirating subplot takes steps to wreck the film. Fortunately, before that can happen the creators bring the account in the groove again, heaping turn upon a bend as it heads towards a popping peak.
Manav Vij is particularly great as the frantic cop who can feel the dividers surrounding him, and Ashwini Kalsekar is a hoot as his hysterical spouse. Even though she isn’t required to do any of the truly difficult work, Radhika Apte is pleasantly persuading as a blameless and befuddled love intrigue. While Anil Dhawan sportingly sends himself up as an overstated, somewhat dismal variant of himself. Ayushmann Khurrana truly gets into his part, giving us a healthy feeling of Akash, imperfections and everything, never leaving his inability to characterize him. Ayushmann is in strong structure, superior to anything he’s ever been.
Ayushmann Khurrana is a controlled entertainer known best for unshowy, relatable jobs. Andhadhun makes him break out of his approachable everyday practice as he advances over Raghavan’s fastidiously tangled web. He is a characteristic at the piano, and his non-verbal communication in this film is pitch-flawless — particularly when it shouldn’t be pitch-immaculate. A sincere young man who swears on his piano keys while summoning Goddess Saraswati. Akash is no regularly hardboiled noir saint.
Andhadhun is a boisterously decent time at the movies. Cinematographer KU Mohanan’s casings oftentimes lie by oversight, deceiving us before demonstrating to us the entire picture. Some of the time the music of Amit Trivedi cuts in, on different occasions it is Beethoven. Everyone deludes, and the film sets up to imagine a scenario where inquiries between the one end to the other wheezes. Pooja Ladha Surti, Raghavan’s editorial manager (and one of his co-writer), keeps the pacing tight enough for the mind to meander simply after the end credits.