The enduring title monitor seems as soon as once more at first of Rip-off 2003: The Telgi Story, the second installment to the Rip-off franchise. Dazzling as it’s, the prelude inherently places an added weight on the sequence that’s now helmed by Tushar Hiranandani. Half 1, with the primary 5 episodes, is mounted securely on the rise of this uncommonly clever man from rags to riches. It really works, in matches and stretches, largely as a result of targeted efficiency of Gagan Dev Riar as Telgi. (Additionally learn: September upcoming internet sequence: Rip-off 2003, Bambai Meri Jaan, The Morning Present to The Freelancer)
Anticipate no flashy flamboyance of Harshad Mehta, it is a totally different beast altogether – Abdul Karim Telgi stays low and largely understated in his whereabouts, keenly conscious of the pitfalls of changing into seen to the seething world round him. We first meet Abdul Telgi on a practice, promoting fruits wrapped within the photocopy of his B.Com diploma certificates. The targeted exaggeration in his dialogues- ‘daring toh karna padega darling’ for one, catches the eye of a effectively wisher, and he finds himself in Bombay the place he helps in constructing the income of an area visitor home. In quick stretches, we’re given info of how Abdul falls in love with the proprietor’s daughter, marries her, after which goes to Saudi for a few years. It’s when he returns to India, that Telgi’s story actually units off.
Primarily based on Sanjay Singh’s ebook ‘Telgi Rip-off : Reporter’s Ki Diary’, and dealing with a screenplay by Karan Vyas, Kiran Yadnyopavit, and Kedar Patankar, the eye shifts squarely on how Telgi fixes his consideration on stamp papers. The sooner scenes element how the stamp papers are made and transported to totally different corners of the nation. The plan is to get on the shifting practice, break the lock and switch pretend stamp papers rather than the true ones in simply 6 minutes. As soon as the plan works, Telgi desires to run an even bigger amount- working with company firms and getting an official license. From hereon, the dangers start to emerge.
The central thematic issues of those traditional underdog tales revolve round ambition and greed, but in addition within the ever-too-widening chasm between the haves and the have-nots; with capitalistic need taking management. Rip-off 1992 labored tremendously as a result of it confirmed, body after body, how Harshad Mehta was not chasing the thought of changing into wealthy, however the capability to carry energy. Right here in Rip-off 2003, nonetheless, that context arrives in momentary stretches. The main focus of the screenplay takes too lengthy to chart the methods during which Telgi operates. The framing of sure sequences too, lack much-needed depth and a focus. Case as an illustration is an prolonged sequence the place Telgi meets a politician and gives him a bouquet stuffed with cash. Then they begin to converse within the open, surrounded by masked males dancing within the background. All the transitionary assemblage of phrases right here really feel hole as a result of framework of the scene- needlessly stored at a sure take away and unfocused.
Gagan Dev Riar’s efficiency
As fascinating it’s to look at the integrity with which the overlapping supporting characters and their ropes within the central story emerge, right here the much-needed groundwork is sadly absent. Even the voiceover by Telgi feels rushed and disproportionately adjusted to spoon-feed viewers at factors. We see Telgi solely by one angle, which is a bubble that bursts quickly sufficient on account of its central efficiency by Gagan Dev Riar. The stressed power he infuses to the character is actually lacking within the screenplay. The actor is wry and bumbling when wanted, and is ready to add oodles of carefree confidence to his scenes- at all times a step forward of the phrases he his given. Its a seasoned efficiency, left unfurnished within the overarching framework of the narrative.
This additionally brings us to the choice of the makers to interrupt the sequence into two elements. With the primary 5 episodes now streaming on SonyLiv, that are reserved strictly on Telgi’s rise, how will the jarring conclusion of ‘To be continued’ add to the reception of a narrative that is smart primarily on account of its reverse underpinnings of rise and fall? The reply appears to be vehemently misjudged on this situation. Effectively, because it goes, solely time will inform.