Bornoporichoy: A Grammar Of Death

Director Mainak Bhaumik’s Borno Porichoy has all the makings of a taut crime thriller — it’s short, slick and suave. But a predictable plot spoils all the fun and thrill. While the script is original, it seems inspired from other police/serial killer movies. The characters are all locked in to their roles. You know who is good and bad from the first scene. It’s just about waiting to see how the ‘bad guy’ is caught. And this is what drives the narrative forward.

Dhananjoy, a police detective, is drawn back into the case that ruined his life and career at the request of his colleagues. Reluctant at first, he dives head first into the case to nab the culprit after he finds some new and alarming clues. Arko, meanwhile, carries on murder after murder, seemingly taking inspiration from the five elements — earth, water, wind, sky and fire.

There are some good cinematic moments, especially when Arko (portrayed to Abir) is toying with his victims, or when Dhananjoy (Jisshu) is doing some hardcore detective work. Even Priyanka Sarkar, who plays Jisshu’s long-suffering wife, has her moments to shine. Abir is at his smiling, smirking, know-it-all best and Jisshu suits the emotionally drained and damaged cop to the T.

The edgy and energetic background score by Indraadip Dasgupta is well-suited to the on-screen action. The music and songs by Anupam Roy are lyrical and do a great job of moving the story forward. The action sequences, choreographed by Sunil Rodrigues, are hard-hitting and realistic. Also impressive are the dialogues by Anwoy Mukherjee, which are well-researched and true to the tone of the film.

But the ending is a bit of an anti-climax. Not just because it is predictable, but also because a small twist in the second half falls flat on its face. Overall, it is an entertaining watch, made special by its short runtime, on-point acting and tight direction.

— Srijoy Mukherjee