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A winner of two National Film Awards and two Filmfare Awards, Sunny Deol is an actor popular for his work in Bollywood. Considered as one of the best action heroes of Hindi cinema, Deol comes from a family of many successful film stars. Some of his best known works include Betaab, The Hero: Love Story of a Spy, Ghayal, Damini, Ziddi, Border, Arjun Pandit, Farz and the Yamla Pagla Deewana film series.

Sunny Deol

Son of superstar Mammootty, Dulquer Salmaan is a well-known name in the Malayalam film industry. He made his acting debut in 2012 with the movie Second Show & won the Filmfare award for the same. He is best known for his performances in movies like Charlie, Solo, Kali, OK Kanmani, Mahanati, Njaan, Manglish and Pattam Pole. His debut Bollywood movie is Karwaan.

Dulquer Salmaan

Pooja Bhatt is an Indian film director, actress, voice over artist and film maker. Born into the Bhatt family, she is the daughter of Indian filmmaker, Mahesh Bhatt. Bhatt played her first leading role in Mahesh Bhatt's television film Daddy in 1989.

Pooja Bhatt

Shreya Dhanwanthary

Chup (2022)

Chup is a Bollywood action-drama, directed by R Balki. The movie stars Dulquer Salmaan, Sunny Deol, Pooja Bhatt and Shreya Dhanwanthary in the lead roles.

Chup! | Official Trailer | Sunny Deol, Dulquer Salmaan, Shreya Dhanwanthary, Pooja Bhatt | R Balki

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CHUP is the story of a serial killer. Danny (Dulquer Salmaan) is a florist in Bandra, Mumbai. A young journalist Nila (Shreya Dhanwanthary), who has recently shifted to Mumbai, discovers his shop and is impressed that he sells tulips, his mother's favourite. Both get attracted to each other. Meanwhile, a prominent movie critic, Nitin Srivastav, is killed ruthlessly at his residence. Inspector Arvind Mathur (Sunny Deol) is given charge of the case. A few days later, another critic named Irshad Ali is murdered, by pushing him under a local train. The next week, another critic gets killed. Arvind discovers that the killer of all the critics is the same and also discovers his unique pattern. The killer kills as per the criticism written by the critic. As he tries to find out who the killer is, the critics in the city get scared. Arvind Mathur advises them to play safe and give a positive review to films, for their own safety. For the upcoming release, all critics shower praises on the film, whether or not they have liked it. However, Kartik, who works for Nila's publication, refuses to bow down. He slams the film heavily. Arvind immediately rushes to his place along with a huge police force, as he could be the killer's next target. What happens next forms the rest of the film.
R Balki's story is unique. There have been many films on serial killers on the loose. But there has been no film about a serial killer killing film critics. This gives a nice touch to the overall plot. R Balki, Raja Sen and Rishi Virmani's screenplay is effective and creative. The way the two tracks run parallel makes for a fine watch. Also, the manner in which Guru Dutt, flowers and murder all come together is seamless. However, the investigation angle could have been more convincing. R Balki, Raja Sen and Rishi Virmani's dialogues are sharp and witty.

R Balki's direction is praiseworthy. He is known for feel-good films and this is the first time he enters this zone. But he excels in several places. Interestingly, one can predict who is the killer at the very beginning. Yet, the revelation of the murderer comes across as a jolt to the viewers. Secondly, he has executed the film in a creative fashion and that keeps the interest going throughout its running time. Thirdly, the film has enough funny and thrilling scenes to keep the interest going. He also deserves kudos as he doesn’t outright bash film critics on the whole. He takes a balanced approach and also makes it clear that film criticism is important in society.

On the flipside, the pacing of the film is slow. Despite the interesting narrative, it is still a niche film. On top of that, it’s violent, which further restricts its appeal. Moreover, a few investigation scenes seem superficial and theatrical, and not too real. This is especially in the scenes of Pooja Bhatt.

CHUP starts on a thrilling note, with the murder of Nitin Srivastav. The way it’s executed, one can’t anticipate if it’s Nitin or his wife who’ll be killed. Danny and Nila’s entry scenes and the way they bump into each other are cute. The sequence where Arvind addresses the critics and industry members and the madness that ensues is hilarious. However, what takes the cake in the first half is when the lone critic bashes the film and the cops descend on his residence in full force. The intermission point is rocking. Post-interval, the film gets slow but a few scenes of Danny stand out. The finale is chilling.
Sunny Deol has a supporting part but suits the role to the T. He underplays it well and in one scene, he gets into the massy zone, which will be greeted with claps and whistles. The dashing Dulquer Salmaan rocks the show. He plays a difficult part with ease and proves yet again that he’s one of the best actors around. Shreya Dhanwanthary looks lovely and performance-wise, she’s first rate. She slips into the character effortlessly. Pooja Bhatt (Dr Zenobia Shroff) is okay and her dialogue delivery seemed too rehearsed. Saranya Ponvannan (Nila’s mother) is adorable. Rajeev Ravindranathan (Inspector Shetty) is a bit over the top. The actors playing Kartik, Nitin Srivastav, Govind Pandey and Arvind’s senior Yashwant Singh are fine. Adhyayan Suman (Purab Kapoor) is fair in a cameo. Amitabh Bachchan’s special appearance is memorable.

There’s only one song in the narrative, 'Gaya Gaya Gaya', and though its tune is forgettable, it's well shot. The background score is the USP of the film. The instrumental tune of the song ‘Jaane Kya Tune Kahi’ is haunting and will linger in one’s mind long after the film is over.

Vishal Sinha's cinematography is neat. Sandeep Sharad Ravade's production design is real and urbane. Aesha Merchant's costumes are realistic yet appealing. Gagan Oberoi's costumes for Sunny Deol are apt. Vikram Dahiya's action is gory. Nayan HK Bhadra's editing could have been sharper.

On the whole, CHUP is a unique tale of a serial killer on the loose and boasts of some fine performances. At the box office, it’ll take a healthy start due to the reduced ticket prices on Day 1. From Day 2 onwards, word of mouth will play an important part in pulling audiences to cinemas, especially in urban centres.

It’s a nightmare for us film critics we never saw coming until co-writer and director R Balki came up with this novel idea of our tribe getting ruthlessly sliced for rating a film. A psycho-killer is on the loose targeting top movie critics and he could be just about anyone. A disgruntled filmmaker, a miffed actor or simply an ardent cinema lover. The cops led by inspector Arvind Mathur (Sunny Deol) are just as clueless because this serial killer makes no mistakes and kills his victim with a creative finesse.
At a concept level, Balki and his team of writers (Raja Sen and Rishi Virmani) have a virgin plot that focuses on the life of the film critics, whose vocation has never really been explored in Hindi cinema. He dedicates the first half in cooking up the story and building up the intrigue, quite brilliantly. So much so that the randomly infused love story of a lonely florist Danny (Dulquer Salmaan) and a novice entertainment reporter Nila (Shreya Dhanwanthary) doesn’t seem much of a distraction. But as the second half rolls in, it gets harder to care about the insipid love story between Danny and Nila. Sure, the screenplay tries its best to keep it all related to the core plot of the bloody killings, but the narrative starts to drag nonetheless. Now, all you can do is wait for the big reveal in the end, but in a Bollywood thriller that is seldom rewarding. And ‘Chup’ is no exception.
While the love story misses the mark, Balki’s own love for cinema doesn’t. He executes many a frame with exquisite shot taking (by cinematographer Vishal Sinha) and a hauntingly brilliant background score recreated from yesteryear chartbusters like ‘Jaane kya tune kahi’ and ‘Yeh Duniya agar mil bhi jaaye’ from Guru Dutt’s classic ‘Pyaasa’. This creates the mystical atmospherics that add more chills to the killer’s carefully crafted murders.
Dulquer Salmaan gives in his best to play a loner and a lover. One can see the actor’s struggle in juggling his complex character and he does a satisfactory job of it. Shreya Dhanwanthary (of Scam 1992 fame) is endearing as the woman in love but her role as a journalist doesn't give her much scope to perform. Sunny Deol makes a smashing comeback. He plays the smart and dedicated investigating officer quite well with the required restraint. And it feels good to see him team up with Pooja Bhatt, who leaves a mark even in her short yet significant role. She plays a fierbrand psychologist Zenobia - a strong and opinionated character that feels tailormade for her. The customary Amitabh Bachchan cameo in this Balki film doesn’t feel out of place either. Tamil actress Saranya Ponvannan’s character of Nila’s progressive mother is a hoot.

R Balki's latest movie, Chup, starring Dulquer Salmaan and Sunny Deol, is an intense and thought-provoking thriller that tries to examine the true purpose of film criticism. The flick luckily does so without being preachy or overly dramatic. Chup revolves around a serial killer who brutally murders critics for insulting artistes with their ruthless remarks. The authorities soon rope in the bold cop Arvind Mathur (Sunny) to investigate the case. He finds a few striking similarities between the killings, which sets the stage for a cat-and-mouse game.
The basic storyline is quite compelling as it features pretty much everything — right from a bit of gore to a liberal dose of twists — that one would expect from a thriller. The promising premise exceeds its potential because of the skillfully-executed screenplay.
Broadly speaking, a thriller can work only if it packs a punch without trying too hard to do so. Take Drishyam, for instance. The Mohanlal-led movie, which was remade in Hindi under the same title with Ajay Devgn in the lead, attained cult status as everything about it felt as organic as possible. This is exactly where Chup succeeds. The film moves at its own pace initially as director R Balki carefully constructs its world. Given the genre, violence is an integral part of the narrative. None of the scenes try to shock the audience. The focus instead is on using these scenes to explore the serial killer's psyche.
The same applies to the big twists as well. The work, despite being obvious mainly as the staging, is as good as it gets.

The writing, however, peaks in the romantic scenes. Dulquer Salmaan's exchanges with Shreya Dhanwanthary cater to those fond of breezy yet realistic love stories. There is absolutely nothing filmi or pretentious about these sequences.

The film features several short yet watchable scenes that examine the complex relationship between art and its critics. The second half feels a bit slow in the portions but does a fair job of setting the stage for the thrilling finale. The closing sequences of Chup touch upon a sensitive topic while celebrating the magic of cinema.
Chup's true beauty lies in the fact that it manages to deal with three distinct aspects or subplots rather competently. None of these tracks feel undercooked.

Coming to the performances, Dulquer does justice to a complex character. His chemistry with Shreya may initially remind one of his breezy rapport with Nithya Menen in OK Kanmani.

The way he deals with the scenes depicting his character's trauma, however, is quite different from the approach adopted by Fahadh Faasil in films such as Joji and Maheshinte Pratikaaram. FaFa used his eyes to internalise his characters. DQ, on the other hand, uses his body language to bring out the complexities of his character.

Shreya, who plays a young journalist, channels her character's innocence.

It is, however, Sunny Doel who proves to be the scene stealer here. The veteran actor delivers a beautifully restrained performance. He packs a punch without even flexing his muscles. The natural intensity that he brings to the table in Chup may remind one of his work in the underrated Ghayal 2.

Saranya and Pooja Bhatt are a bit underutilised. The former, however, makes her presence felt despite the limited screen time.

The dialogues have situational appeal, and lines such as 'Scorcese nahi Shetty' and 'Galti Se Tax' stand out. The editing is good as Chup doesn't drag. The romantic song featured in the film, however, could have been catchier. The other technical aspects are up to the mark.

To sum up, Chup is a highly watchable and layered thriller that may 'silence' its critics, courtesy of its refreshing concept.

A film-maker's perspective of their work, understandably possessive and personal, and a critic's verdict, arising from individual experiences and response is seldom in sync.

Many labours of love have received a thumbs down from the critics.

Though when the latter enjoys a film, exuberant praise follows and the critic becomes an unlikely champion for a voice that needs to reach out to all and sundry.

But the war between creators, critics, credibility and cinephile egos goes deeper than that. This complicated relationship between defensive film-makers and defiant film critics finds a satirical vent in R Balki's Chup: Revenge of the Artist.

What if angry, wishful thinking and metaphoric violence within an unfavourably judged artist manifested into a serial killer premise?

Quite like the Vincent Price-led British black comedy, Theatre of Blood, where a bitter Shakespearean actor goes on a murderous spree after he is slammed by a bunch of uppity critics.

Balki's love for novel ideas -- the May-December romance in Cheeni Kum, old-looking kid of young-looking parents in Paa, failed actor lending voice to mute actor in Shamitabh, house husband and working wife equation in Ki & Ka -- is a brand he continues to build on with his latest.
There's an air of experiment to Chup, which does well in rustling nervous energy around the deaths of a largely unwelcome, peripheral community.

But Balki's random and lacklustre depiction of movie reviewers limits an ingenious gimmick to just that. Co-written by Rishi Virmani and film critic Raja Sen whose cruellest reviews are a distinction in itself, Chup would benefit more from the eloquence of Sen's sting than the indulgences of its writer-director.
There are things he gets right and there are things he doesn't.

While Mumbai's monsoon soaked imagery of Bandra's tucked away streets and quaint neighbourhoods, captured with a refreshing new eye in Vishal Sinha's camera, provides a sensual, secretive, low-lit backdrop, Chup piggybacks intensely on Guru Dutt's aura for its vibe and whimsy.

Even if one plays along the pretentious nature of its romantic moments sponging off his iconic melodies, it's rather reductive how the actor-film-maker's legacy is seen purely through the prism of failure and melancholy.

Alternating between a police procedural headed by a gruff cop (Sunny Deol) and impassioned psychologist (Pooja Bhatt) and a series of meet-cutes between a charismatic florist (Dulquer Salmaan) and earnest journalist (Shreya Dhanwanthary), Chup begins on a grisly note as critic after critic is slaughtered by a self-appointed vigilante of quality cinema.

Picking on the contempt in their reviews, the demented killer executes his prey verbatim and carves stars on their forehead as a wickedly ironical final word.

The identity of the murderer is quite obvious from the beginning.

What is surprising is Chup's tame depiction of his hate targets in nondescript portrayals dominated by obese, middle-aged, men.

Critics of Hindi cinema are a disparate, colourful, bunch that evoke much derision and tut-tut among its own tribe, but Chup's distant understanding of their influence and idiosyncrasies fails to give the loathing any real impact.

Like that terribly pedestrian scene where tempers flare up and producers and critics quarrel like disagreeing members of a cooperative housing society meeting.

Lopsided as it may be, Chup is fascinating even when it is frustrating.

It is admirably unflinching in laying all the blame on the prejudiced critic.

But when the opportunity to show the extent of its deadly darkness arrives, bringing Baazigar's coldest moment to mind, Chup stops at teasing.

Who knows if deep down it too believes, 'yahan Scorsese nahi Shetty chalta hai' as the climax advances into a far-fetched mess.

At this point, the until-now subdued Sunny Deol is back to his Ghayal-era growls and cussing.

Looking undeniably sharp in his salt and pepper, flat top haircut, Deol conducts the investigation in the manner of a surly, sleepy, lion.

Whatever scope for banter the entry of his Angrakshak co-star Pooja Bhatt offers is sadly never explored. Her innate intelligence is a natural fit for the part. Even though she's mostly spewing hokum, we buy every bit of it.

What's difficult to digest is Dulquer Salmaan and Shreya Dhanwanthary complaining about Mumbai's 'mehangai' while shopping for haldi at an upscale gourmet store.

Their romance is flushed in fantasy, which is alright since both seem like lonely souls in search of love.

Whether Shreya's 'Woody Allen is Innocent' endorsement is more telling of her politics or poor judgement of character, it works completely in the context of her wide-eyed persona. Wish the high-spirited equation between her and her blind mum (a plucky Saranya Ponvannan) was better fleshed out.

Falling for the florist doesn't seem too unreasonable when the man selling exotic tulips for free is a suave Dulquer Salmaan.

Chup isn't swayed by his handsomeness alone.

The actor's talent flies high all through a complex journey, which stuns and silences over the course of unabashed symbolism and feverish impulses.

Chup's bias is reserved for disgruntled creators at the receiving end of nasty appraisals of their efforts.

Though it ropes in Amitabh Bachchan (for a customary R Balki cameo) to assert criticism is the key to social progress, its sympathy for the artist, ultimately, absolves all mediocrity when the critic-hating protagonist schools his detractors on ethics of reviewing and virtues of Mongolian cinema.

Balki has the framework for a terrific argument if only it wasn't so oblivious to publications and their politics, controlling the narrative and a thriving star rating system -- one that the film industry equally enables across triumphant posters when the odds are in their favour.
Attributing violent vendetta to psychological imbalance is an easy crutch to fall on when makers are reluctant to debate righteous anger over difference of opinion.