The end has an interesting twist that injects life into the proceedings, but the beginning is a bit iffy!
Dwelling on this would mean giving the meat out, so let it be said that Tushaar Kapoor (Aryan) released from the sanatorium, (he had accidentally killed his girlfriend, Sophie Choudry), meeting Nauheed Cyrusi, who then takes him to her boss Udita Gosawmi (Jhanvi) for employment is a bit hard to digest. It somehow does not fit into the scheme of things.
Also Udita, who is in Bangkok with Tushaar, (she runs an event management company), hands over her phone to him as she goes off to meet a colleague. Before she can get back, Tushaar has already gone into her picture folder, to ‘A’ particular photograph and even has the nerve to ask her who she is??? Clearly, how can anyone go through someone’s cell phone in a manner like that and which lady in her right mind would mind that!!! Isn’t that strange, Mr Anant Narayan Mahadevan???
Clearly, the director was in a fix in trying to plot a premise and in the bargain ended up goofing up things. A little patience, a little more planning and a little more intellect to build up he beginning would have put the director in an enviable position because he has the end, firmly in place.
Tushaar Kapoor as the psychopath has scope to perform so has Udita Goswami and Nauheed Cyrusi. Sophie Choudry’s accident is not well handled which makes you wonder whether the director had something else in mind whilst filming and had a change of mind mid-way. I guess this is where the problem lies.
Shreyas Talpade as Dr Adi Merchant is the one that stands out with his performance. Music by Mithoon is reminiscent of THE TRAIN. In fact as the music begins, you inadvertently visualize Emraan Hashmi and Geeta Basra on THE TRAIN.
If Tushaar had the privilege of doing ‘strip study’ with Tanushree Dutta in GOOD BOY BAD BOY (Tanushree stripping one garment with every right answer given by Tushaar), here he drowns Tequila shots with Udita for every unanswered question. You can then very well understand where the scene is headed!
This year has seen thrillers like RED, NAQAAB, RAQUEEB and THE TRAIN and none have the end so well etched as AGGAR. But the beginning is also as important.