More than a decade back, when the contemporary underworld genre surfaced in Bollywood with cult films like Satya (1998) and Vaastav (1999), it had to its merit an unheard-of story and a realistic hard-hitting setup. Several spin-offs followed by the same filmmakers and their proteges and over the years, the underworld arena was exploited to such an extent that it left practically no scope for innovation. Shabri is an offshoot of the same recycled phenomena, having a been-there-seen-that effect.
Projected as a story of a woman gangster, Shabri isn't exactly an intricate underworld drama that traces the upsurge and downfall of its female protagonist. It is more of a basic revenge plot with an underworld backdrop. When his brother is unjustly killed in police custody, Shabri (Esha Koppikhar) kills the cop and goes absconding. An underworld bookie Murad (Raj Arjun) helps her go underground and in turn enrages his boss, the underworld head Rajdhar Bhau (Pradeep Rawat). When Rajdhar Bhau kills Murad, Shabri swears to seek revenge.
The film, delayed by more than half a decade, belongs to the era when the underworld genre had turned as much old as much as Ram Gopal Varma's obsession with it. Ramu's protege writer-director Lalit Marathegets the grammar of the genre as much correct as his mentor's better works. Everything from the pallid colour tone to the caustic editing patterns reminds of RGV of yore. The camera movements and sound effects were more poised and persuasive then.
Also Marathe's direction is more subtle and suggestive as he conveys more through the scene per se than using literal dialogue. Like RGV's common cold-blooded protagonists from Randeep Hooda's D to Mohit Ahlawat's James , even Shabri is a woman of few words with ice in her veins. Content being an average flour-mill worker, circumstances force her to turn a gangster.
But the major limitation of the narrative is that it spans a very short period in the life of Shabri which ends with her induction into underworld. The only USP of this otherwise conventional underworld drama is the gender of its protagonist and it would have been more gratifying experience to see the functioning of the female form in a powerful position. But by the time Shabri gains authority, the film has already reached its end credits. On that note, the film fails to tap its prime potential.
Other than that the writing gets convoluted and confusing in the second half with the introduction of a scheming cop (Zakir Hussain). The viewer never gets to comprehend his clear intentions and his track doesn't contribute much to the story per se. The end, despite having a shock value, is too conveniently achieved. Also for an underworld action drama, the pacing is quite slow.
While Esha Koppikhar's performance can't be tagged as outstanding, it certainly is her most impactful act till date. With a hardboiled character that doesn't demand too much of dialogues, expressions or histrionics, it never goes wrong if the actor is able to maintain a dignified restrain in their act, and Esha succeeds in doing that. In a sari-clad avatar and a brazen look throughout, the girl known for her glamourous image, pulls off a divergently different character with poise. Raj Arjun is decent and Pradeep Rawat is sufficiently authoritative. Zakir Hussain gets repetitive in his erratic act.
Perhaps the late release of Shabri could benefit only one person. Apparently the last film of Esha Kopphikar; Shabri gives her credibility as a decent actress on a parting note.
Projected as a story of a woman gangster, Shabri isn't exactly an intricate underworld drama that traces the upsurge and downfall of its female protagonist. It is more of a basic revenge plot with an underworld backdrop. When his brother is unjustly killed in police custody, Shabri (Esha Koppikhar) kills the cop and goes absconding. An underworld bookie Murad (Raj Arjun) helps her go underground and in turn enrages his boss, the underworld head Rajdhar Bhau (Pradeep Rawat). When Rajdhar Bhau kills Murad, Shabri swears to seek revenge.
The film, delayed by more than half a decade, belongs to the era when the underworld genre had turned as much old as much as Ram Gopal Varma's obsession with it. Ramu's protege writer-director Lalit Marathegets the grammar of the genre as much correct as his mentor's better works. Everything from the pallid colour tone to the caustic editing patterns reminds of RGV of yore. The camera movements and sound effects were more poised and persuasive then.
Also Marathe's direction is more subtle and suggestive as he conveys more through the scene per se than using literal dialogue. Like RGV's common cold-blooded protagonists from Randeep Hooda's D to Mohit Ahlawat's James , even Shabri is a woman of few words with ice in her veins. Content being an average flour-mill worker, circumstances force her to turn a gangster.
But the major limitation of the narrative is that it spans a very short period in the life of Shabri which ends with her induction into underworld. The only USP of this otherwise conventional underworld drama is the gender of its protagonist and it would have been more gratifying experience to see the functioning of the female form in a powerful position. But by the time Shabri gains authority, the film has already reached its end credits. On that note, the film fails to tap its prime potential.
Other than that the writing gets convoluted and confusing in the second half with the introduction of a scheming cop (Zakir Hussain). The viewer never gets to comprehend his clear intentions and his track doesn't contribute much to the story per se. The end, despite having a shock value, is too conveniently achieved. Also for an underworld action drama, the pacing is quite slow.
While Esha Koppikhar's performance can't be tagged as outstanding, it certainly is her most impactful act till date. With a hardboiled character that doesn't demand too much of dialogues, expressions or histrionics, it never goes wrong if the actor is able to maintain a dignified restrain in their act, and Esha succeeds in doing that. In a sari-clad avatar and a brazen look throughout, the girl known for her glamourous image, pulls off a divergently different character with poise. Raj Arjun is decent and Pradeep Rawat is sufficiently authoritative. Zakir Hussain gets repetitive in his erratic act.
Perhaps the late release of Shabri could benefit only one person. Apparently the last film of Esha Kopphikar; Shabri gives her credibility as a decent actress on a parting note.
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