With the interval point serving us a fantastic twist, we await a nail-biting ride ahead. The first half, in particular, is arresting despite its lethargic pace. The writers take the audience for a ride, which could have been okay if their culmination was kickass – which sadly isn’t the case. Part emotional drama and part suspense thriller, we are given a lot of information – none of which end up being of use. There are films that went one step ahead and cracked suspense out of absolutely inconsequential and uninteresting characters ( 36 China Town, anyone?) The other way, perhaps, is to have few characters and make the audience an active part of the investigation, and towards the final few (very few) minutes, the suspense will be revealed (on the lines of Kahaani). Indian suspense thrillers seem to be taking two convenient routes – One to introduce a whole lot of characters (each of them shady in their own way) and conveniently find the culprit in one of them. Hence, it is the trickiest of genres for writers to knit. The moment one of them retorts “ See, I’d told you.” – the impact has gone down the drain. That’s when our ‘detective’ minds get activated and putting pointers together and guessing the culprit right is a thrill in itself. Right when the writers ( Suresh Nair, Bijesh Jayarajan and Ritesh Shah) pull up their socks and try give the film a whodunit touch, Te3n nosedives.Ī suspense thriller, for every cinegoer, is a personal target. At times, an endearingly honest story of an old man dealing with a loss that he was responsible for, the film’s dramatic scenes do strike a chord.
Ribhu Dasgupta’s Te3n – One instance where the genre turns out to be a film’s liability.
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