Farrey review: Farrey, directed by Soumendra Padhi of Jamtara fame, marks the impressive debut of Alizeh Agnihotri, Salman Khan’s niece. The film, a heist thriller set in an exam hall, draws parallels to the 2017 Thai movie Bad Genius and introduces a captivating narrative.
The essence of Farrey lies not just in its storyline but also in the analogy it draws between its underdog protagonists and its lesser-known source material. It seamlessly capitalizes on the hidden brilliance of both its origins and its characters.
In the era of mainstream Indian cinema’s resurgence, characterised by grand narratives and reliable box-office draws, Farrey stands as a flagbearer of the ‘content-driven’ movement. It’s a noteworthy addition emerging from Salman Khan’s production house, reflecting the influence of OTT storytelling.
The film introduces us to its street-smart protagonist engaging in exam malpractice for extra cash, swiftly establishing her character. She emerges from a Delhi orphanage managed by a couple reminiscent of Rajshri Productions. Following her academic success, she gains entry into an elite school where she befriends the affluent clique.
The narrative unravels as the privileged group, recognizing her academic prowess, exploits her intellect for their advantage. The anticipated Faustian exchange unfolds with a delightful and unapologetic finesse, transcending the attempts of moralistic characters to hinder their pursuits.
An intriguing facet of Farrey lies in the casting of Alizeh Agnihotri, portraying the underprivileged prodigy confronting the opulence of her affluent friend. Her portrayal exudes a refreshing energy, depicting a character layered with insecurities and determination.
The film’s strength also lies in its character depth, emphasizing the shades of grey akin to the compelling ambiguity prevalent in OTT storytelling. Performances by Sahil Mehta and Zeyn Shaw add depth, contributing nuanced portrayals that avoid the trappings of typical romantic tensions.
While Farrey slightly loses momentum towards the end and demands moments of suspended disbelief in its high-stakes heist, it achieves its intended goals admirably. If the source material earns straight A’s, Farrey secures a well-deserved distinction.
