A Sharp but Uneven Investigation: A Review of Mrithyunjay

Hussain Sha Kiran’s Mrithyunjay is a film that understands its scale, opting for a taut, 122-minute investigative narrative rather than the high-octane spectacle of a traditional commercial potboiler. While it succeeds in trimming the cinematic fat that often plagues the genre, it occasionally trips over its own logic. Led by Sree Vishnu, the film is a commendable effort that plays to the strengths of its core team, even if the writing sometimes chooses the path of least resistance.

The story centers on Jay, an aspiring crime reporter played by Sree Vishnu with his signature grounded charm. Jay’s current professional reality is a morbidly unique hustle: he secures obituary ads for a newspaper by posing as a grieving acquaintance at mourning households. This ethically murky setup serves a dual purpose, showcasing Jay’s "chameleon" ability to blend into any environment and his sharp observational skills. These talents eventually pull him away from the obituary desk and into a dangerous conspiracy involving sophisticated bank scams, contract killers, and murders staged to look like accidents.

One of the film’s most refreshing qualities is its narrative discipline. Director Hussain Sha Kiran resists the urge to include a traditional romantic track, allowing Reba Monica John’s character, Sita, to remain a focused police officer rather than a love interest. Their paths cross solely for the sake of the investigation, a choice that keeps the pacing brisk. Furthermore, the humor is strictly situational, arising naturally from Jay’s undercover antics rather than being shoehorned in as a separate comedy track. Even Jay’s personal trauma is handled with a light touch, providing just enough emotional weight to justify his dogged pursuit of the truth without stalling the plot.

However, the film’s intelligence is inconsistent, often asking the audience to ignore practical questions in favor of narrative momentum. While Jay is portrayed as a brilliant investigator, his success frequently comes at the expense of the police force's competence. Even Sita, who is established as a resolute officer, often feels peripheral to the investigation, leaving Jay to do the investigation that professional detectives should handle. This reliance on "convenient writing" prevents Mrithyunjay from reaching the heights of the great crime dramas. Ultimately, it remains a solid, intermittently intriguing thriller that respects the viewer’s time, even if it doesn't quite realize its full potential.

Available on Netflix.

Rating: ⭐⭐⭐

FARZ : A Tribute to Bond

FARZ (1967) – Bollywood’s Early Brush with James Bond… and Beyond..

Released on 6th October 1967 at Central Cinema, Farz went on to become a Silver Jubilee Hit, firmly establishing itself as one of Hindi cinema’s earliest and most ambitious spy thrillers.

Often remembered as one of Bollywood’s first “James Bond-style” films, Farz was actually inspired by the Telugu hit Goodachari 116, starring Krishna Ghattamaneni later fondly regarded as “Tollywood Bond.” Interestingly, Jeetendra too carved his own niche in this genre, even revisiting it years later with Bond 303 (1985) and Raksha.

The film opens with a gripping sabotage attempt at a dam complete with explosives, garrote wires, and shadowy operatives setting the tone for a spy thriller. The mysterious Agent 211081 steps in, only for the narrative to take a shocking turn early on. Enter Gopal, Agent 116 (Jeetendra), who takes over the mission with charm, style, and a touch of Elvis-inspired swagger.

There are also clear echoes of the classic Dr. No particularly in the initial premise of investigating a fellow agent’s mysterious death, and later in the climactic confrontation with the main villain in his secret lair. These similarities further underline Farz as an early and earnest attempt to adapt the Bond template into a distinctly Indian cinematic style.

From here, Farz blends espionage with classic Bollywood elements romance, acrion family drama, comic sidekicks, and, of course, memorable music. The central conflict thickens as Gopal finds himself entangled with Sarita (Babita), whose father may or may not be the very villain he is chasing. Trust, deception, and melodrama weave through the narrative, sometimes overshadowing the spy angle.

And then comes the music truly an integral asset to the film.

Composed by the legendary duo Laxmikant Pyarelal, the soundtrack is nothing short of superhit and continues to live on decades later.

Songs like Mast Baharon Ka Main Aashiq, Hum Toh Tere Aashiq Hain, and the evergreen birthday anthem Baar Baar Din Ye Aaye became hugely popular and remain etched in popular culture.

Like many films of its era, Farz follows the delightful trope of the “double boss” where the apparent villain gives way to a more sinister mastermind lurking behind the scenes. Add to this secret lairs, disguised weapons, fake ambulances, and dramatic rescues, and you have a film that embraces its pulp roots wholeheartedly.

While the espionage may feel light and occasionally confusing, the film redeems itself with its energetic songs and dances. Jeetendra, not quite a Sean Connery style action hero, instead wins over with his rhythmic moves earning his place as a “pelvis-grinding” crowd-pleaser and also getting the name Jumping Jack which has stayed with him.

Farz may not deliver tightly wound spy intrigue, but it remains a fascinating and entertaining relic of Bollywood’s early attempt at the spy genre where style, music, and masala take precedence over realism.

A nostalgic watch for lovers of vintage Bollywood and musical spy dramas.

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