Drishyam is an Indian hindi language movie released in the year 2015 , Nishikant Kamat being the director of this movie .  Drishyam is a remake of the 2013 Malayalam  film and also carries the same name in the Malyalam version as well. The film was produced by Kumar Mangat Pathak and K Ajit Andhare and Abhishek Pathak, and casting was done extremely good in this movie as Ajay Devgn, Tabu , Shriya Saran and also featuring Ishita Dutta and Mrunal Jadhav.

Drishyam was a superhit movie in the box office and also worldwide as it grabbed Rs.938 million in India and  Rs.1,110.5 million worldwide and their total expenses being amounted as only Rs.380 million.

Source: IMDb


Drishyam Review  :  A story that won’t allow you to leave your seat !!

‘Drishyam’ sets us up for a pair of pleasant surprises: a storey that piques our interest and a leading guy who pulls back from the brink. An uninvited invader disrupts the peaceful progression of a guy who is committed to his family, resulting in a shocking event. Will their lives ever be the same?

Vijay Salgaonkar (Ajay Devgn) is an orphan who has worked hard to own a small business. He manages a cable company in a small Goa village with the help of a teenage employee, and he is a movie buff who spends most of his evenings in front of a screen. His attractive wife (Shriya Saran) and two lively girls vie for his attention, and we see them doing everyday activities like visiting to nearby Panjim and joking around at the dinner table. With an uncomfortable demand, a rowdy adolescent boy joins their idyll, and disaster stares them down.

The disappearance of the boy, who turns out to be the son of top officer Meera Deshmukh (Tabu) and her affluent businessman husband (Rajat Kapoor), and the subsequent investigation, more than make up for the remainder of the picture. Vijay is under investigation, and dishonest sub-inspector Gaitonde (Kamlesh Sawant) is keeping a close eye on him and his family. The notion is intriguing on its own and the movie with its plot is still keeping us on our feet thinking what will happen next. In the second half, ‘Drishyam’ and Ajay Devgn–both of whom take their time getting into their stride–come into their own, and we get an intriguing perspective on the age-old subject of crime and punishment. How far will a man go to protect his family? Where does the line between right and wrong become blurred? And how do the real and fictitious worlds interact, and how does the  real-life and fictional worlds interact, and can the intersection give us answers to almost unsolvable problems.


A slew of films, most notably Malayalam’s ‘Drishyam’ and Tamil remake ‘Papanasam,’ both written and directed by Jeethu Joseph, have pursued a similar route in the preceding year. Despite the fact that its basic plot bears more than a passing resemblance to the mega-popular Japanese thriller ‘The Devotion Of Suspect X,’ the Hindi version credits Joseph with the original story.

Mohanlal and Kamal Haasan were both excellent, with the latter embellishing a hyper-emotional core and the former parlaying his knowing wryness in the way that only he can. Ajay Devgn’s speech is strange (is the affect of those buffed-biceps pumped-up characters he’s been playing in such terrible tripe as ‘Action Jackson’ wearing off slowly? ), but its good to see him playing a heavy character in terms of his size after such a long gap.


The film, which stays mostly true to the original but includes a few extras, may have been great if it had been tighter. And if Ajay Devgn wasn’t coupled with Shriya Saran (the two don’t go together). Tabu is inconsistent as well, catching the inflection of her harsh cop-soft parent elements at moments and coming over inflexible at others. Kapoor playing Tabu’s husband on the other hand is effective. Sawant also plays a good role and does a great job while playing the role of police man who is extremely good as a Goa Cop.

Finally, the film was a success. It illustrates the street smarts of a near-illiterate guy desperate to defend his family at any cost, as well as how forgiveness can sometimes lead to acceptance. And in the manner in which it delivers the cruel twist to the story.


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