Cast: Manoj Bajpayee, Gajraj Rao, Ali Fazal, Shweta Basu Prasad, Anindita Bose, Kay Kay Menon, Bidita Bag, Dibyendu Bhattacharya, Harshvardhan Kapoor, Radhika Madan, Chandan Roy Sanyal, Akansha Ranjan Kapoor
Creator/s: Srijit Mukherjee, Abhishek Chaubey, Vasan Bala
Ray 2021 Web Series Review: What Is It About?
If you’ve got been a fanatical follower of Satyajit Ray, you recognize what are you stepping in, but if you haven’t followed the legend, you’re certain a visit to a dark inner-conscious-land where things aren’t plain White. The miniseries consists of 4 episodes adapted for the screen by Satyajit Ray’s short stories.
Ali Fazal stars him as Ipsit Nair, during a story of a person with the brain of a computer facing dementia. Being a hotshot business tycoon, Ipsit maybe a husband but it all starts when a particular Rhea Saran makes him believe that she has been a crucial part of his past. Sharing personal details that only Ipsit knows, Rhea somehow gets in his head, and therefore the thought of ‘how could I forget things?’ ruins it all for our flawed human with memory.
Directed by Srijit Mukherjee, adapted for the screen by Siraj Ahmed, this story takes you straight into the ‘in the method of being damaged’ mind of its leading character. From telling a 10-figure exact amount he owes to his investors to not remembering someone he had sex with on his birthday at an area he feels has never been to, you see Ispit’s getting demolished right ahead of you.
Ali Fazal’s ‘long hair, dapper glasses, sleek tuxedo, lose tie’ look subtly matches Ray’s vision of a smart-looking business tycoon. Ali charms his way into the disruption planned by his destiny. From the way he physically looks to the way he mentally screams, Fazal is that the Muhammad Ali of this prize ring designed by the legendary Satyajit Ray.
This has the simplest screenplay of all four stories & it’s all due to some unrealistically fantastic scenes penned within the last half. A mind-blowing scene has present-day Ipsit catching his past self at an area he doesn’t even remember visiting. Just remember the term ‘wheelchair journey’ & notice how that brings you goosebumps towards the top of story one.
Swapnil Sonawane’s (Newton, Angry Indian Goddesses) camera couples up abstractly well with Anasuya Sengupta’s geometrically dazzling production design. Nitin Baid’s sharp editing adds to the breezy nature of the story. I even have always been a lover of Peter Cat Recording Co. & Suryakant Sawhney, the person whose music is that the closest I’ve need to teleportation. With an identical otherworldly feel, the background score delves straight into the episode’s blurry sense.
Episode Rating: 5/5
Ray Web Series Review: Bahrupiya
Joaquin Phoenix’s Joker was Hollywood’s answer to Satyajit Ray’s Bahurupi, during which Kay Kay Menon stars as Indrashish Shaha; an aspiring make-up artist cursed with employment & life he hates. The intro may be a simple man with simple dreams, but he’s tangled during a world not fit him. very similar to how society pushes Joaquin’s Curry to rework into Joker, Indro decides to style the trail he’ll walk on with impersonation. This leads him to interrupt the boundaries of the law, which ultimately lands him in life-threatening trouble but ends with an issue, was he really Indro or a ‘bahrupiya’ all along?
Siraj Ahmed’s screenplay, yet again, justifiably brings Ray’s Bahurupi on-screen. Kay Kay Menon may need to get the simplest 50 minutes of his career with this one. Ray’s trademark trait of his character ‘struggling together with his life’ is portrayed by Kay Kay in a way nobody else could’ve done. you’ll see on his face how his life is falling apart, and he doesn’t have any say in it. But, the transformation of what he becomes when he gets the key to his problems is that the range only an actor like Kay Kay Menon could possess. This deserves a separate article breaking down every single detail & it’s coming soon.
For now, Arkodeb Mukherjee’s obsession with wide-angle sequences comes across clearly throughout the episode. Shibaji Pal’s dim-lit production design of the film goes hand in hand with Indro’s drab life. Pronoy Dasgupta’s editing stitches the shots well without keeping any clutter. Sagar Kapoor’s minimal background score doesn’t get between you witnessing Indro blowing down his own house of cards.
RAY Episode Rating: 50/5
Ray Web Series Review: Hungama Hai Kyon Barpa
Satyajit Ray’s one among the underrated gems, Nayak, also consists of a train journey, but with Barin Bhowmick-er Byram, he takes an equivalent backdrop changing the passengers and conversation between them. A Kleptomaniac (suffering from an impulse control disorder that leads to an irresistible urge to steal), Musafir Ali (Or as he likes to deal with himself) may be a renowned Urdu ghazal singer. He clashes with Aslam Baig, a wrestler-turned-sports journalist, who back in his days was referred to as Jenga The Wrestler. As we advance, we all know this isn’t the primary time they’re meeting, and Musafir hasn’t always been the renowned singer he’s today.
As Musafir gets accused of stealing Baig’s fortune, the sequences laced up with just the proper amount of humor entertain you throughout. If there are Manoj Bajpayee on-screen buttering life lessons in Urdu, there’s hardly any chance you’d even attempt to specialize in anything. *Boom* Appears the talisman of adorbs-world, Gajraj Rao, with this riveting to and fro with Manoj’s Musafir Ali.
A train journey doesn’t stop Niren Bhatt’s screenplay from getting stuck in only a compartment narrating a dialogue-heavy story. Instead, he uses the glass of the train’s washroom as a window to Musafir Ali’s flashback performance. Bhatt’s vision is fantastically backed by Anuj Rakesh Dhawan’s camerawork and Aditya Kanwar’s production design checking all the proper boxes. Manas Mittal’s editing compliments the fast-paced journey of Musafir & Baig. Naren Chadavarkar, Benedict Taylor’s background score leaves no vacant gaps without bothering the proceedings.
Ray 2021 web series episode Rating: 5/5
Ray Web Series Review: Spotlight
After a hat-trick of perfect 5/5 episodes, the fear of a tousled finally clouded my thoughts out of hand. Harsh Vardhan Kapoor’s Spotlight starts with Ray’s quote, “There’s always some room for improvisation.” I don’t know if this was cryptically intentional or simply ironic, but this is often the episode that needed the foremost improvisation of all four. Nope, it’s not a nasty experience in the least, but the bar set by the primary three doesn’t add the favor of Van Bala’s directed episode.
The spotlight is that the story of a star Vikram Malhotra who has become a sensation only for his one trademarked look. He likes to be within the spotlight, but that’s soon snatched by a spiritual leader Didi (played effortlessly well by Radhika Madan). Coincidentally living within the same hotel, Didi’s powers give Vikram a reality check of what he’s. What happens once they both meet? Yes, there’s a twist, and it had been enough to surprise you, but the execution takes away the spark of it.
With dialogues like “Fair to ab Fair & Lovely Bhi Nahi Raha” & rhyming Pritish with British, the dumbness of Vikram is accurately portrayed by Harsh Vardhan. Rahul Kamble activates his beast-mode for the background score. Especially the scene during which Vikram’s state of mind is characterized by a fast-paced jazzy drum piece hits the nail. Niren Bhatt takes an easy route with the screenplay of this one, which I feel shouldn’t are the case. At the danger of being termed as sadistic, this one needed a darker approach and not a glamorous one. Vasan Bala continues his ‘tribute to cinema’ touch from Mard Ko Dard Nahi Hota, but here, he misses some targets.
Ray Episode Rating: 3/5
Ray Web Series Review: Last Words:
All said and done; despite an adrenaline-breaker towards the top, Ray remains probably the simplest thing to return out of India’s OTT space. a requirement awaits those that haven’t followed Satyajit Ray also. This is bait to ask people to the ethereal world of Ray!