Cast: Anil Kapoor, Aditya Roy Kapoor, Sobhita Dhulipala, Tillotama Shome, Ravi Behl and Saswata Chatterjee
Director: Priyanka Ghose and Sandeep Modi
The Indian adaptation of the 2016 British thriller series, bearing the same title, premiered its initial four episodes in March, leaving viewers waiting for over three months to conclude the story. The first part, although sprawling and somewhat promising, progressed at an agonizingly slow pace. Shaan (played by Aditya Roy Kapur) and Lipika (portrayed by Tillotama Shome) invested considerable time and effort to gain the favor of gang lord Shelly (played by Anil Kapoor), testing the patience of the audience. When viewers have already suspended their disbelief and embraced the show’s world, it becomes perplexing why the setup of a relatively simple premise takes so excruciatingly long. Thankfully, Part 2 offers a much crisper and faster-paced experience compared to its predecessor. Abundant twists and turns, coupled with the persistent feeling of time slipping away, inject urgency into the plot and it’s unfolding.
However, overall, The Night Manager adaptation falls somewhere in the middle of the vast array of thrillers currently populating the Indian streaming landscape. It oscillates between being a slow burn and an edgy thriller, constantly grappling with its own identity crisis. The narrative loses focus, wavering between developing the plot and exploring the characters, ultimately failing to fully capitalize on either aspect. There is only one standout sequence, meticulously crafted and visually stunning, that effectively combines lavish production values with a character-driven focus. Set amidst a desert backdrop, Shelly presents a compelling pitch to potential clients, attempting to sell lethal and sophisticated weaponry.
Anil Kapoor delivers a stellar performance, embodying Shelly with the finesse of a seasoned businessman, akin to someone delivering a persuasive PowerPoint presentation in a corporate boardroom. He savors the unsettling spectacle of a war demonstration before him, relishing in sadistically delightful lines like “Khud ladne ki jagah ek doosre ko ladana. Agar jannat kahin hai toh yahin hai” (It’s heavenly to make them fight each other) and terms like “the perfume of war,” all while inhaling the intoxicating fumes of ammunition.
Throughout the series, Anil Kapoor remains the focal point, around whom the entire story revolves. Portraying the suave antagonist driven by profit and power in the realm of warfare and destruction, he effortlessly blends touches of flamboyance with consistently understated elegance. Capturing the essence of malevolence in its most insidious forms, his portrayal relies on subtle suggestions rather than overt displays, skillfully concealing the character’s inner malice.
Tillotama Shome steals the spotlight as the standout performer. In the first part, her character engages in mind games and executes classic intelligence operations. However, in Part 2, she showcases her physical prowess, portraying a pregnant woman who can defend herself in multiple situations. She relishes in using words like “uterus” and “ovary” to challenge an all-male inquiry committee, and humorously remarks, “Fir raid kar di,” upon discovering her broken-into home. The climactic encounter between Tillotama and Anil Kapoor’s characters is a gripping battle of wits, played out like a metal game of chess, with both sipping tea from ivory white cups.
In contrast, Aditya Roy Kapur and Sobhita Dhulipala, as the conventional leads, appear somewhat lackluster. Aditya manages to effectively portray emotional unavailability and understated drama, fitting for his role as an undercover agent. However, there comes a point where the audience desires more emotional depth from the leading man than what is offered. Sobhita’s character shows promise initially, but ultimately ends up in a predictably stereotypical position as the mistress of a wealthy man and the love interest of a noble one. It’s disappointing that the co-directors, Sandeep Modi and Priyanka Ghosh, failed to fully capitalize on the steamy chemistry between the two leads.
While the first part of The Night Manager may have suffered from an overwhelming emphasis on style rather than substance, Part 2 takes a significant step towards striking a balance between the two elements. The series retains its visual flamboyance, maintains a more even pacing, and neatly ties up loose ends, resulting in a convincing conclusion. The performances remain solid throughout, and the technical aspects continue to impress, ensuring a sustained level of polish and sophistication.
