AWESOME IN IDEATION, 'HOUSE ARREST' IS A LETDOWN IN EXECUTION

House Arrest Movie Review

Director duo Shashanka Ghosh and Samit Basu think of a relatable contemporary plot but forget that only the idea doesn't suffice

It is an age where people, especially millennials take pride in identifying themselves as aloof. With minimal social contact with the world around, it is a sense of oneness with one's own self and gadgets of course, urban isolation is the in-thing. House Arrest deals with the same societal phenomenon, albeit with a half-hearted execution to what had the potential of becoming much more. With so much potential calling for such a premise, the makers here seem to have let the chance slip very casually.

PLOT

Once a banker, Karan (Ali Fazal) has not stepped out of his posh-luxurious-ultra clean apartment for nine months now, with no will whatsoever to do it any time in the future. While his family and friends, especially JD (Jim Sarbh) keep convincing him to go out and meet people, he is out rightly reluctant. Enter Saira (Shriya Pilgaonkar), a journalist researching on a Japanese concept called Hikikomori sets up a meeting with Karan. What happens next is a set of events very unlikely. Because Saira is not the only guest Karan has at his place.

STORY/SCREENPLAY/GENERAL

Written by Samit Basu, the film in its story at first interests you thoroughly. At first the trailer tells you about the refreshing but very-much-of-today concept, followed by the opening sequence of the film. The film starts with a monologue on Radio shifting focus to the protagonist uttering 'Day 279'. You are in for a smile with bright prospects on offer.

The film in its initial bit does the needful for the narrative. Establishing the premise, building the character for you, setting the place well, and also getting in the required conflict in the drama. Here the person in question isn't a maniac. He is a normal person, completely sane and calm. The film establishes the lives of people caught in such situations really impressively. All runs smoothly for quite a long time and you are invested. In fact, you are also left to guess a several things in the plot, keeping you inquisitive all through. Good thing. But it all comes to an end quicker than you expect.

As the film progresses, you keep getting to know that whatever you were offered so far doesn't quite live up to anything in the scheme of narrative structure. There are answers that you seek, but you never get them. Or even if you do get answers, they are bland and plain. A parallel track involving Pinky (Barkha Singh) at first seems rightly blended but at a later stage, you don't quite like how it unfolds. There is also a track involving Saira's past relationship, but even that seems far fetched and only to deliberately make the drama seem complex.

Bottomline- a story that started off to tell a lot about the lives of people seeking a distance from the world, becomes a regular love story with a few conflicts here and there. You also expect the film to have a connotation to it in its holistic appeal, but none of that happens. The film just casually ends on a regular note with no take away whatsoever. You keep finding meanings to what was given to you, but in doing so, you fail. Actually it's the film that fails.

PERFORMANCE

Ali Fazal is a sureshot winner. He keeps your eyes fixated on him, even if you get bored with the plot otherwise. He is just so good with his expressions and body language that you just can't ignore him. He lessens the shortcomings of the plot for you. It's a difficult role, but Fazal owns it.

Similarly, Shriya Pilgaonkar too is a charmer. She does well what is asked of her. It is not a very difficult role. But requires the actor to be on point. Shriya doesn't disappoint. Jim Sarbh in his brief appearance is good and conveys the essence of his character nicely.

Barkha Singh is a true entertainer. It's proven time and again. Here also, she is so good in the role of an eternally persistent neighbor that you disgust her. But that's the beauty of her acting genius.

OTHER TECHNICALITIES

Music and score by Amartya Rahut is reasonably okay, could be better. The inconsistent writing doesn't offer points where Rahut could score on the sound.

Camera by Jehangir Chowdhury is noteworthy, particularly because the film is shot in a single house. The variety of shots is to look for, which gives the film a nice visual vibrancy. Production design by Parineeta Luthra is also interesting for the fact that the set has been adorned impressively, wherein the lighting and the elements of colours have also contributed perfectly.

Bhupesh Micky Sharma's editing is plain. In the initial phase, the film still holds you tightly. But not so much in the later part where you may also want to forward the drama a little bit.

All in all, a good idea bites the dust for the half baked writing that it involves. Actors lift the scenario up, but even their best isn't able to lighten up the film for you. This Netflix original isn't worth your time.