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The Night Manager review: Anil Kapoor and Aditya Roy Kapur are solid, but Hotstar sabotages its own show by demanding an early check-out

The Night Manager review: Hotstar's remake doesn't stray too far from the source, but a handful of strong central performances -- the cast includes Aditya Roy Kapur, Anil Kapoor, Tillotama Shome and Sobhita Dhulipala -- ensure that it's a notch above the streamer's other offer

Strong performances and an admittedly engaging plot ensure that The Night Manager finds a spot at the top of Hotstar’s heap of Hindi-language remakes. But when a streamer’s slate itself resembles a stack of last season’s clothes at the corner of your local Zara, praise like this should be taken with a pinch of salt.

Aditya Roy Kapur plays Shaan Sengupta, a former Navy officer who, when we first meet him, appears to have settled into the hospitality industry as a night manager at five-star hotels. After witnessing the murder of a young girl whom he could’ve saved while he’s working at a hotel in Dhaka, Shaan is recruited some years later to spy on the man whose nefarious schemes indirectly caused the girl’s death. This man is the notorious arms dealer Shelly Rungta, a ‘merchant of death’ played with scenery-chewing aplomb by national treasure Anil Kapoor.

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After a couple of chance encounters (or were they?) in the first two episodes, the Srikant Tiwari-esque Lipika Saikia, played by series standout Tillotama Shome, orchestrates an operation that eventually isolates Shaan and Shelly on an island in Sri Lanka. Now fully undercover, Shaan is expected to sneak into Shelly’s inner circle, and find evidence that can bring him down once and for all.

Based on the novel by John le Carré and closely modelled on the original miniseries — directed by Sussane Bier and starring Tom Hiddleston, Hugh Laurie, Olivia Colman and Elizabeth Debicki — the Hindi Night Manager inevitably suffers by comparison, just as so many other Hotstar remakes that have preceded it.

But even though the Hindi Night Manager doesn’t deviate really from the original’s plot, the screenplay by Pathaan’s Shridhar Raghavan finds enough excuses to justify the remake. For instance, even though the Shelly character’s son also plays an important role in the original, themes like family and parent-child relationships feel oddly more organic in an Indian setting. Shelly cautiously allows Shaan into his inner circle only after he ‘rescues’ his son, Taha, from armed kidnappers in a staged robbery.

Children play an important role in the show, even though it typically uses them as plot devices. Shaan is motivated to spy on Shelly not because he’s overly patriotic, but because he feels guilty about not saving the girl in episode one; Shelly, on the other hand, feels he is indebted to Shaan for heroically rescuing Taha from the kidnappers. In a later episode, one of Shelly’s associates is forced to tell on him because the Indian authorities use his child as a pawn.

To its credit, however, the show avoids making the very desi mistake of speaking down to the audience. Shelly’s decision to keep Shaan close in the immediate aftermath of the botched kidnapping could’ve been explained more bluntly. But the show maintains an ambiguity as far as Shelly’s motivations are concerned; it feels like he owes Shaan, but he’s obviously very suspicious of him as well. And a lot of it is down to Kapoor’s slippery (yet oddly sympathetic) performance. He lathers his line readings with that trademark buttery Kapoor drawl, but notice how effectively he communicates Shelly’s silent inner conflict in a couple of key moments.

Roy Kapur, on the other hand, is disarmingly efficient in the lead role. He’s entirely believable as an ex-soldier, mostly because he looks like one, but he might pleasantly surprise you with the tenderness he displays in his scenes with Taha, and with the doomed young girl in episode one. What makes the drama more complex, and the character more empathetic, is the fact that Shaan actually cares for the kid; in a world full of deeply unreliable people, his feelings for Taha are genuine. Roy Kapur is, however, also required to play closer to type in the sexually charged scenes opposite Sobhita Dhulipala, who is underused in a thankless role as Shelly’s literal arm candy. Two striking close-ups are enough to remind you of how talented she is. She deserves better than this, and whatever those characters in Major and Ponniyin Selvan: I were.

Saswata Chatterjee appears to be having fun as Shelly’s right-hand man in the Tom Hollander role, but there was an opportunity here for the remake to deviate from the original. The character’s portrayal as a perpetually predatory gay man is objectively problematic, especially when this is the sole trait that the character has been given. “I love spooning,” he says after Shaan calls him a ‘chamcha’. His name is Brij, but his nickname is BJ. Ha ha.

Shome injects a much-needed sense of playfulness to the occasionally stone-faced proceedings every time she shows up as Shaan’s morally dubious RAW handler. Like every other character in the show, her motivations are personal, and not ideological. This feels like a minor victory, especially when you remember that we live in a world where Roy Kapur’s last film as lead was retroactively retitled to appear more right-wing. It didn’t work, of course.

And there’s no telling if The Night Manager will, either. Hotstar has made the confounding decision to split the series into two halves, effectively sabotaging one of the few watchable titles on its roster. The first part contains just four episodes, and the second, a pre-cap reveals, will arrive in June. Will audiences even be interested in returning to the series in three months? Who knows? Especially if they have access to the original as well. But assessed independently, the Indian Night Manager is just about efficient enough to overlook its demand of an early check-out.

The Night Manager

Creator – Sandeep Modi

Cast – Aditya Roy Kapur, Anil Kapoor, Tillotama Shome, Sobhita Dhulipala, Saswata Chatterjee

Rating - 3/5

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