R. Balki's Chup has an intriguing, entertaining story but leaves you a bit unsatisfied

R. Balki’s crime thriller Chup puts you smack in the middle of a murder investigation right from the beginning. A fictional renowned film crictic has just been murdered when Arvind Mathur (Sunny Deol) is called to investigate the case. But this is not an impulsive homicide. The killer has taken his time to carve his victim’s body with scars and stars, a literal representation to what critics do to filmmakers. 

We are then transported to an old bungalow situated in Mumbai’s catholic locality in Bandra, where Danny (Dulquer Salmaan) runs a flower shop. He buys some flowers and grows some of them. 

This is followed by a prayer meet for the murder victim, where Nila (Shreya Dhanwanthary), who has recently moved to Mumbai and works a journalist, is introduced. This time, she is a cinema lover and an entertainment reporter who aspires to be a film critic someday. 

In the following weeks, more murders take place and it is upon Arvind to solve the case. 

Chup follows plot points similar to most murder mystery thrillers. So, chances are, if you have watched a few you, would be able to work out the major twists, one of them being the killer, well before they are revealed. But putting critics as victims is an intriguing proposition, especially in times when the rules of free speech across the world are being debated. 

Just as the mystery unravels, we also get a love story. Mostly shot in old-school slow motion and close ups by director of photography (DOP) Vishal Sinha, who is best known for his work in the Dhanush-starrer Raanjhanaa. The scenes between Nila and Danny, peppered with Pyaasa’s Jaane Kya Mene Kahi, almost portray a “filmy” romance that Nila describes in the film.

Revered filmmaker Guru Dutt, who was also an inspiration for the film—apart from Balki’s own journey as a filmmaker—lingers throughout Chup. From the melodies of Kaagaz Ke Phool’s Waqt Ne Kiya Kya Haseen Sitam to Danny actually gifting his lover Nila flowers made of newspaper on Guru Dutt’s birthday. The late actor filmmaker also has a small shrine where is being worshiped.

What stands out in Balki’s thriller are the dialogues. In one scene Nila’s blind and humorous mother, played by Saranya Ponvannan, says, “Life me lion banna hai toh bakra banne ki himmat honi chahiye (In life, if you want to become lion, you should also be able to become a scapegoat).”   

But I wish Nila was a better written character. Don’t get me wrong, she is not just a prop or an eye candy for her male counterparts. But for someone, who acts as a motivation for a fellow film critic to write an honest review despite having a killer on the loose—she starts coming off as clingy and a damsel in distress towards the second half of the film. Nila is not an activist, like Shreya’s Suchita Dalal in the riveting Scam 1992, but she is also not established very well as a character. 

Similar is the case with Sunny’s Arvind and Pooja Bhatt’s Zenobia. Apart from their one-line descriptions of a police officer and criminal psychologist, respectively, I do not know much about them. It appears that the three of them are just plot devices to take the story forward. 

To be sure, a film does not have to delve into the lives of each and every character. Like Rajeev Ravindranathan’s character—who was brilliant in Gauri Shinde’s English Vinglish—does not get much screen time or character arc. But it does not feel out of place since he is an assisting officer on the case. 

But not giving much character arcs to three of the four main characters does not make me root much for anyone. 

Even without much of a story arc and screen time, Pooja Bhatt makes you take notice and admire her. She enters like a breath of fresh air when the film seemed to have reached a bit of a slump in the second half. I have majorly seen her during the 90s through Dil Hai Ke Manta Nahi, Zakhm, and Border—but her charm and deep voice are intact and definitely worth watching. I want to see more of her on the big screen. 

Balki also brings in some patriotism when Arvind tells Zenobia something along the lines of why people get involved in the military and police force. This seemed a bit out of place in the context of the film. Chup is dealing with a killer looking to kill probably a little more than a dozen or so film critics. That too in just one city. Not a terrorist, who has the potential of putting millions of lives in danger. 

But overall, Chup is an entertainer. Apart from the familiar beats and plot line, it has a fresh victim on the murder mystery genre. While critiquing a film reviewers' approach it also talks about their importance through a much appreciated cameo. Also, admirable performances from Dulquer Salmaan and Pooja Bhatt would keep you hooked. The theater was also almost full for the first show on a Friday. This could be because of the Rs 75 ticket rate instead of the usual.