Everyone in this Emraan Hashmi movie is on autopilot-Entertainment News, Firstpost

Dybbuk, a Hindi remake of the Malayalam film Ezra, is riddled with amateur “twists” and rushed resolutions.

One of the most damning accomplishments watching Jay K Dibouk is coming to terms with how often packers and movers appear in Emraan Hashmi’s horror films. If we’ve seen enough, they’ll even spot a pattern. He has offered himself a new position in a distant exotic land, there is a big house that will soon become a metaphor for their empty marriage. There is an odd-looking helper, designed only as a prop to create the strangeness of the setting. When he takes up his mission, he will meet little resistance from his partner, and an exchange like this will take place:

“What am I going to do on my own in a place like this?” “

“What you want…”

* big smiles *

* landmark ballad by Jeet Ganguli / Mithoon / Pritam *

It’s more the same in Dibouk. He was offered a long-term project in Mauritius and the living room is already full of boxes. We hear Mahi (Nikita Dutta) having doubts, when Sam from Hashmi comes up with the most ingenious “solution” to relieve his anxiety. “Let’s start a family and everything else will work out!” She doesn’t protest. After all, what good is a “horror” movie without the foreshadowing of a pregnant woman and a fetus?

Emraan Hashmi, Nikita Dutta in a Dybbuk still

A remake of the 2017 malayalam movie, Ezra (with Prithviraj and Priya Anand), the director seems to follow the rhythms of the Hindi remake on autopilot. The couple move into a lavish house, the husband goes to work, and the bored wife (of course!) Does the shopping. From an antique store, she salvages a seemingly old wooden chest with creepy letters inscribed on it. She opens it and the trouble begins. She tells her husband that she saw a spirit in her mirror, and her response is the typical Hashmi flat “you need to rest”. “Why don’t you believe me? She begs, shortly thereafter we are told that she suffers the trauma of a miscarriage.

The annoying thing about this little plot is that not only does the film place the burden of proof on the “hysterical woman”, the man never asks a single question while envisioning an outcome from a distance. where she is right.

There is no curiosity. As it happens in these movies, he won’t believe her until someone throws him halfway across the hall. This also happens with Hashmi, where he falls into an attic following a particular sound through the night.

Dibouk, as the name suggests, is based on Jewish folklore. So there are a few themes through which the director tries to differentiate his Bollywood debut from the dozen films of the Raaz franchise. Sam is vice president of a company specializing in the safe disposal of nuclear waste. Is that an interesting common thread in a premise of death, where we half expect the climax to take place inside a reactor, where the spirit dissolves in radioactive waste? Unfortunately, the thread is not fully explored. There are two interreligious relationships at the heart of Dibouk: Mahi’s parents are separated from her for marrying a Catholic boy (Sam), and a flashback, where a Jewish boy and a Catholic girl are romantically involved. It is a political choice in the current climate, but which does not go beyond their simple evocation. The flashback “as to” why people are… discouraged, is painfully archaic and unambiguous, with intrigue the size of Zambia.

Manav Kaul, as Rabbi Markus, begins most of his lines with “Hmm yahudi… ”(We Jews…) as if to convince ourselves of this strange choice of casting. The skull cap does not. There is Denzil Smith in the role of Father Gabriel, one of the most priestly actors in Hindi cinema, even without a French beard.

Nikita Dutta lives up to the journey as Mahi, who mostly needs her to stare at Sam without saying anything to tease the audience about whether she is possessed (like in the Bhatt movies) or just wallow in the pity of the public and of her husband. Emraan Hashmi lets his muscle memory play the game, he has done it so many times. The “twist” in the film is so amateurish and the resolution so rushed that even first-time moviegoers will be able to tell.

As a director, who remakes his own film, it takes real courage to reproduce it shot by shot. One would imagine that there would be at least one improvement or refinement in the storytelling. Director Jay K lives up to the popular abbreviation: just kidding.

Rating: 1/5

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