Yeh Saali Zindagi is violently choreographed by a crime novel with saga at the centre. Striking from the very first scene of the movie where Irrfan Khan is hanging down from his buliding, the director gets a hang on story and by no means lets it go baggy for a single minute. Sudhir Mishra brings back reminiscences of his decade old film ‘Iss Raat Ki Subah Nahi’, which was also a mixture of romance with the world of crime.
Mishra's picture and art of cinematographer Sachin Kumar Krishna, captures Delhi city and its appealing attachments with love and embrace, creating striking visuals of a city that's serene in chaos. Also the storytelling is unpredictable getting into recurrent flashbacks and the background voiceover given by Irrfan Khan keeps varying from one character to the other. It's a moderately easy plot mix together with complicated turns and narrated at a quick speed. Mishra brings out the better-quality shades of the crime world and also switches the romance tracks very precisely. His script not only keeps you entertained with its umpteen twists and turns, it also pays due admiration to the cleverness of the spectators. Plus to this, Manu Rishi's witty one-liners add to the joviality. The film expects the spectators to tremble off his weariness, catch the wander off dialogue, realizes the modulations and figures out the shades of a screenplay that doesn't consider in dripping all the beans, all at once. And thus, the loveliness of the narrative lies as the interconnections open out sooner or later. Also the director uses music as a strong instrument to improve the result in the most curious occurrences.
While the genre is contentedly recognizable, Mishra's action is delectably crazy. In place of shiny finish and publicity stunt, he uncovers the crookedness and layers that makes up his characters with such enthusiastic exactitude and nuance, that it’s inspiring to stay in sync.
Overall, it's magnificently wild and enjoyable with its taste of zingers penned by Mishra and Manu Rishi. You have to experience the uncontrolled and harsh roller-coaster ride that Sudhir Mishra takes you through, which is erratic yet pleasurable throughout.
3.5 / 5