Dwitiyo Purush Film Review
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Dwitiyo Purush Film Review
Dwitiyo Purush, a sequel to Baishe Srabon, strives to live up to the climax of its predecessor but falls short. However, the film aptly captures its title's essence as there is always a second man involved in the chase between the cop and the killer, evident from the very first scene. In an era where creating original thrillers becomes increasingly challenging, the film manages to deliver a shocking twist towards the end. Yet, it is not the shock value itself that captivates the audience but rather the anticipation of an intricate and unpredictable conclusion that keeps them engaged.
The narrative begins with a series of gruesome killings orchestrated by a young hoodlum named Khoka (Rwitobroto Mukherjee), who seems to have developed a unique style in his sudden fascination with becoming a serial killer. The story unfolds in 1993's Chinatown and continues as Khoka is released from jail 25 years later. The police repeatedly mention his three murders in 1993 and three more upon his return in 2019. In 1993, Khoka shocks his gang by committing a murder while under the influence of drugs, followed by two more. His arrest as a notorious 15-year-old delinquent sparks a debate between two police officers, one of them played by Babul Supriyo, about capital punishment. The conversations between the officers in 1993 echo the arguments surrounding capital punishment in 2019. Babul's character advocates trying Khoka as an adult for his heinous crime, challenging the notion of juvenile delinquency. While this scene attempts to provoke further debate, its impact falls somewhat short.
In summary, Dwitiyo Purush falls slightly short of matching the climax of its predecessor. However, it maintains the essence of a thrilling chase and engages the audience with its anticipation of a clever and unpredictable ending. The film touches upon relevant themes such as capital punishment and juvenile delinquency, but some of its attempts to provoke deeper discussions may not be as impactful as intended.
The film effectively builds up towards the climax, portraying a police officer haunted by his past failures (Parambrata Chatterjee) as he strives to prove his worth to himself. His personal life is also affected by this insecurity, resulting in conflicts with his wife (Raima Sen) and the introduction of a third person (Abir Chatterjee) into their story.
At a certain point in the film, these three characters—Abhijit, Amrita, and Surjo—and their interactions become the most engaging aspect. Despite their limited screen time, their scenes leave the audience yearning for more. Meanwhile, the grown-up Khoka (Anirban Bhattacharya) intermittently appears, plotting his murders. The film skillfully manages to run these parallel tracks, but unfortunately falls short in its climax.
The casting and character portrayals, along with the appropriate costumes, are noteworthy. From the suave Gaurav Chakraborty and Parambrata Chatterjee as inspectors to the more sinister-looking Anirban Bhattacharya and Rwitobroto Mukherjee as the criminals, all the actors deliver solid performances. Although Raima Sen and Abir Chatterjee have limited screen time, their scene together provides a much-needed breather in the film.
While the film employs clever tactics such as searching for clues about the 1993 murders through TV news channels, the repetitive use of the same person (a gang member) as a clue during every news channel interrogation feels forced.
Overall, despite its uneven pace, the film showcases strong casting choices and well-defined characters. Certain moments shine, but the climax fails to deliver on the promising build-up.