Drishyam Official Trailer starring Ajay Devgn, Tabu, Shriya Saran

9 Comments
  1. Author
    aryan 4 years ago

    Trailer and direction looks good including Ajay and Tabu’s acting.

  2. sputnik 4 years ago

    Looks like there is an interesting plot but the dialogues and acting doesn’t look good.

    Will try to watch the original if I can get hold of it.

  3. cr7 4 years ago

    They didn’t change a single thing . Frame to frame copy . Agree that the acting doesn’t look good .Ajay’s dialogue in the beginning sounds really dull . Anyway not excited about the movie . The original is a classic and done to perfection . Unnecessary remake. I would rather watch the original once again .

  4. jj 4 years ago

    Isnt the trailer giving away a bit too much? I am glad that the movie is shot and being released in a quick time. In the age where shooting goes on forever, months of marketing and then waiting for a festive date, this is refreshing.
    More releases a year encourages more experimentation by big names. When you have a release in 2 years the pressure to deliver a hit is huge, and super stars end up repeating formulae. Case in point SRK, and some Tamil super stars.

  5. jj 4 years ago

    Trailer to the original movie –

    Its a poorly cut trailer with some random shots, but maintains its as a family movie with some serious notes.

  6. sputnik 4 years ago

    Trailer of Tamil remake PAPANASAM starring Kamal Haasan, Gowthami

  7. sputnik 4 years ago

    Drishyam Review By Bollywood Hungama
    Rating: 4/5

    The last few weeks have been really good for Bollywood. It all started off with the magical BAHUBALI, which, despite being a dubbed film, went onto register huge figures at the ticket windows all over. This box-office magic was continued by Salman Khan starrer BAJRANGI BHAIJAAN. This week sees the release of the whodunit mystery DRISHYAM. Will this film continue the magical ‘vision’ at the Box-Office windows, or will this film turn out to be a mere ‘eye-wash’, let’s analyze.

    For the uninitiated, DRISHYAM is remake of the Malayalam film by the same name, which was directed by Jeethu Joseph and starred the southern superstar Mohanlal and Meena in the lead. The same film was then made in Kannada as DRISHYA with V. Ravichandran and Navya Nair in the lead, and also in Telugu as DRUSHYAM with Daggubati Venkatesh and Meena in the lead. It is only recently that the film was made in Tamil language as well titled PAPANASAM, which starred the legendary Kamal Haasan and Gauthami.

    Director Nishikant Kamat’s DRISHYAM starts off with Vijay Salgaonkar (Ajay Devgn) waiting at Pandolem police station in Goa. The story, then goes into a flashback mode in which it mirrors all the events that led Vijay in the present day situation. Vijay Salgaonkar is a ‘fourth standard failed’ middle class hard working businessman, running a cable TV business. His life revolves around movies and his family consisting of his wife Nandini Vijay Salgaonkar (Shriya Saran), his teenage daughter (Ishita Dutta) and his younger daughter. Life goes on pretty smoothly for the Salgaonkars, till one day his elder daughter bumps into a notorious Sam in a school camp. Despite repeated warnings, Sam doesn’t stop pestering her, so much so that he even plants a hidden camera in her washroom. Grabbing this ‘opportunity’ with both the hands, Sam demands sexual favour from Vijay’s daughter in return of the MMS being deleted. And when Nandini intervenes, he asks for a sexual favour from Nandini instead! Raging with anger and helplessness, Vijay’s daughter hits Sam with a rod that results in him collapsing on the spot. The mother-daughter get furthermore shocked when they learn that Sam was the only son of none other than IG Meera Deshmukh (Tabu). Frightened and helpless they narrate their ordeal to Vijay when he returns back from his office in the morning. Vijay then hatches a master plan that will help his family from the clutches of the police. After this begins the cat and mouse game between Vijay and Meera. Does the ‘fourth standard failed’ Vijay Salgaonkar manage to protect his family, does his foolproof plan have any flaws that act as a giveaway, what happens to Sam in the end.. is what forms the rest of the story.

    First things first. Writer Jitu Joseph needs to be applauded for having created such a flawless masterpiece that Bollywood, probably, has never witnessed before. This is a whodunit film that will surely have its name etched in gold, because of the smart script. This film scores heavily, because, while most of the whodunit thrillers are all about finding the culprit, this film is all about flawlessly concealing the crime.

    When you are aboard on a ship named DRISHYAM, which has ‘powerhouse passengers’ like Ajay Devgn and Tabu, the responsibility of the captain becomes more than double. And this responsibility has been carried off and executed not just extremely well, but also in the most meticulous manner by the ‘captain’ of the ship Nishikant Kamat, who makes absolutely no mistake right from the first frame till the last one. He succeeds immensely in keeping the legacy of the film’s ‘vision’ alive. One really has to give it to him for keeping the audience on the edge of his seat, and not losing them even for a moment. Nishikant Kamat does total justice to the film’s exceptional script and his direction is spot on. He is the boss and ensures you take note of the story the way he wants to…he’s in complete control. While the first half of the film belongs in totality to Ajay Devgn and his ‘vision’, the film’s engaging second half belongs equally to both Tabu and Ajay’s. The film’s climax is outstanding. One just cannot afford to miss the scenes in which the cops interrogate the Salgaonkar’s family individually and also the small child’s confession to the cops. Even though the film’s pace is slow, you, as a viewer, don’t lose interest at any point of time, because the mystery and the human dilemma keeps you hooked right from the first frame till the last one.

    As far as the film’s performances are concerned, it is needless to say that the film belongs totally to Ajay Devgn and Tabu. They are the quintessential torchbearers of the film right from the word go. It is really heartening to see Ajay Devgn (who is mostly known for his action roles) to underplay his usual self and yet come out a winner of sorts. One just cannot to afford to miss him in the scenes where he and his family recreate the entire events and incidents and also his helpless condition in the police station when his family gets beaten up mercilessly. His smoldering eyes emote effortlessly. On the other hand, Tabu (who had earlier played a policewoman’s role in the 90’s film KOHRAAM), plays an inspector with oodles of aplomb and elan. At the same time, she also handles the role of a concerned mother with equal ease. With the kind of portrayal that she has done in the film, it becomes almost impossible to think of any other actress to have played this role with such flawless perfection. Shriya Saran, on the other hand, comes up with a winning performance in the role of Ajay Devgn’s wife. The other mentionable roles belong to Rajat Kapoor, Ishita Dutta and Mrinal Jadhav, all of whom jointly deliver a masterpiece called DRISHYAM. A special mention goes out to Kamlesh Sawant for his cop act, which was in top form. Even other small characters have done excellent job in their parts.

    As far as the film’s music is concerned, in a film like this, there is hardly any scope for music. Still, Vishal Bhardwaj manages to deliver a handful of soothing (if not exceptional or memorable) tracks that go with the flow of the film and do not seem thrusted. It is the film’s background music (Sameer Phaterpekar) that acts as a major driving force in the narrative of the film. When a film is of a thriller genre with a ‘whodunit’ as its central theme, it’s editing becomes one of the key factors that can make or break the film. In the case of DRISHYAM, it’s editing (Aarif Sheikh) that keeps the film edgy. There is no single moment in the film suffers a lag. As far as the film’s cinematography (Avinash Arun) is concerned, the camera work takes you on a trip of its own…simple frames but the requisite lighting and the changing camera angles add to the mystery. As for the taut screenplay (Upendra Sidhye), it keeps on playing with your mind all the time. You know what happened but even then you are taken for a ride and you start believing in it.

    On the whole, DRISHYAM is an absolute winner that keeps you hooked completely right till the end. It is definitely a must watch movie this weekend.

    http://www.bollywoodhungama.com/moviemicro/criticreview/id/2626987

  8. Author
    aryan 4 years ago

    Movie Review by Rajasen

    Some movies appear on our viewing doorstep carrying far too much baggage. Drishyam, for instance, is a Hindi remake of a Malayalam film of the same name made into several languages with leading men of exceptional pedigree, and which has also, I believe, stolen its set-up from a Japanese mystery thriller, The Devotion Of Suspect X. That’s an awful lot of suitcases all right. As with too-eager houseguests, there are ways for filmgoers (and critics) to deal with such visitors, and in this particular case I decided against homework, invited the film in and asked it to leave its luggage out by the door.

    I’m glad I did, because while I haven’t watched any of the other Drishyams or read Suspect X, this Hindi version is an utterly unremarkable thriller, one that could have been potentially cool and wily, but one that falls well short of being memorable. It’s a depressingly ordinary film, and the allegedly stolen plot — about a crime being covered-up — is something we’ve seen many, many times before.

    Heck, if you want to see a genuinely great thriller about a movie-inspired protagonist buying tickets and meeting people to construct a watertight alibi, go watch Sriram Raghavan’s fantastic Johnny Gaddaar instead of reading the rest of this review.

    Ordinariness aside, Nishikant Kamat’s Drishyam is watchable and even builds tension effectively from time to time, but ends up an overlong, overbaked drudge, largely because of Ajay Devgn in the lead, trying to look cerebral and calm while assuming solid-coloured shirts will absolve him of the artlessness he has flaunted in recent movies. It would be unfair to compare most leading men to masters Mohanlal and Kamal Haasan, but Devgn — who used to be a striking brooder, a man who appeared to know how to simmer on the inside — is now just talking softly while essentially swaggering along regardless. Vulnerability? Perish the thought. The idea of subtle internalisation has led this man to sheer cardboard.

    The way the film sees him doesn’t help. Even while playing an everyman who loves his family, a song montage in Drishyam has Devgn standing away from his wife and daughters, wearing sunglasses and striking a hero pose till the family comes and coos over him. (Later in the same sequence his wife tries on heels and slips; Devgn sits back and laughs, making no effort to help her.)

    Devgn’s Vijay is a cable-operator who lives in a giant villa with a fawning family, and one day things go quite bizarrely awry. Something must be done to save his world, and Vijay — a film-lovin’ orphan who prefers spending most nights with a tiny TV in his office instead of his moronically indulgent wife — takes inspiration from the movies. Except, and here is one fundamental problem with this meta film-within-film setup, he doesn’t really do or learn anything of actual brilliance, with films having apparently taught him the mere value of being stubborn. There are times he gets a lump in his throat watching Bachchan ham it up hard (or one in his trousers watching Sunny Leone do the same), but it all appears too forced. Save for a couple of scenes, the cinema-beats-life trope doesn’t really pay off.

    drishyam2What does pay off, as always, is casting Tabu in a meaty role. Despite first showing up in a bewilderingly tight police shirt — which then leads to her striding through a corridor in slow-motion, almost a la Baywatch — the actress is characteristically impressive in her role of a no-nonsense cop. There’s a case, she has a stake in it, and she knows what she’s doing — something Tabu expresses with brilliant weariness as she rolls her eyes at her husband who objects to her brutal methods. She’s a badass superstar who looks like she means it when she munches over dialogue about ‘visual memory’ et al, but her epiphanies are too conveniently arrived at, while her methods are too thickheaded.

    Drishyam starts far too snoozily. The narrative intent is clear — to normalise the world (and Devgn) before shifting into thriller-mode — but the film is clumsily written, with dialogue that sounds wooden; the first hour of the film sounds like an amateurishly dubbed film instead of one we’re watching natively. There are a few smart flourishes, but the filmmakers linger on the one or two good twists for so long that they render them tedious. (There is even a cheeky reference to Suspect X, I believe, in the throwaway mention of a “retired professor” who lives nearby.) But mostly there is more tackiness than craft, demonstrated best by the ill-produced recreations of the movies Vijay watches and in the way fake newspapers are visibly made up of computer printouts with Times New Roman taken too literally.

    Don’t get me wrong, several parts of the film work and, for the most part, Drishyam motors along far more efficiently than most Hindi films — but isn’t that too low a bar? Is it too much to ask for a ingenious, tight thriller?

    At one point in the film Tabu makes the link about Vijay and the movies, and this is where I rubbed my hands together and thought we were (finally) in for some intriguing traps that subvert or mock cinematic cliché, a truly brilliant cat and mouse game. Alas, nothing comes of it and we never get a battle between equals. Perhaps because she’d have eaten him alive: lug, luggage and all.

    Rating: 2.5 stars

    http://rajasen.com/2015/07/31/review-nishikant-kamats-drishyam/

  9. Author
    aryan 4 years ago

    Movie Review Video by Anupama Chopra

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