And just in case you don’t get the moral of the story, the song ‘Khoya Paaya’ composed by Vishal Khurana and sung by Amit Trivedi and Delraaz Bunshah, hammers it in. Ram, usually a director given to subtlety and shades, underlines the messaging here.
The irony is that the television channel is named Bharosa 24X7. He becomes, like the rest of the television folk, a person who doesn’t report the news but sells it. She is Arjun’s conscience, which he loses along the way. Ankita who barks orders and manipulates people and is only invested in her own ascent, is such a cliché that even the wonderful Amruta Subhash can’t make her real. The same goes for Soumya, who is portrayed as a paragon of courage and virtue. Take the character of Ankita, Arjun’s boss. It’s a nice touch establishing that this is a story about a life lived on camera.īut ultimately, the scenario is too outlandish and the writing, too ordinary. Even the couple’s small, personal moments are recorded. The film begins with footage of Arjun and Soumya in happier times. Baldawa and co-editor Amit Karia notch up the tension with shaky cameras and quick cuts. Ram, DOP Manu Anand, lead editor Monisha R. Most of the film takes place in one location.
The Terror Live is intermittently gripping with stretches of suspense and so is Dhamaka. But ultimately the middling nature of the source material also reflects in the remake. And Dhamaka offers an explanation, however feeble, for the ease with which the bomber is able to blow up things. Arjun’s wife Soumya, played by Mrunal Thakur, gets a little more screen time. Ram and his co-writer Puneet Sharma also attempt to weave in more emotion and plausibility into their version. The screenplay offers the actor moments of vulnerability and stillness and he does well with them. Kartik found his fame playing the boy-next-door in rom-coms, in which he sometimes came off as smug but also high-pitched and overeager. It’s a delectable role and under the tutelage of director Ram Madhvani, Kartik shows flashes of seriousness and depth that he hasn’t revealed before – especially in the last thirty minutes of the film. As he is put through the wringer, on live television, Arjun discovers his own best instincts. The dhamaka is literal but also metaphorical – Arjun’s career, his reputation and relationships, his place in the world are all blown to bits. He is a corrupt opportunist but as the drama unfolds, he comes to understand that he, like the bomber, is a disposable pawn in a system that thrives on exploitation and lies. Dhamaka, which was shot during the pandemic in ten days, is essentially a vehicle for Kartik to show that he can do more than deliver monologues with aplomb.
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