Name: Murder Mubarak
Genre: Comedy, Crime, Thriller
Released: 2024-03-15T00:00:00+00:00
Cast: Pankaj Tripathi, Sara Ali Khan, Vijay Varma, Tisca Chopra, Sanjay Kapoor

The heavy barbell comes crashing down on Leo Matthews’ neck, but in “Murder Mubarak,” the real weight of suspicion is what director Homi Adajania wants us to feel. Based on Anuja Chauhan’s novel “Club You To Death,” this Netflix mystery thriller throws a motley crew of Delhi’s elite into a whodunit that’s as claustrophobic as it is campy.

The Royal Delhi Club, with its British colonial hangover and absurdly rich members, is a goldmine for dark comedy. Pankaj Tripathi’s ACP Bhavani Singh is the standout, a wily investigator who navigates this labyrinth of lies with a mix of street smarts and deadpan humor. His scenes—like when he interrogates Vijay Varma‘s Akash “Kaashi” Dogra or Sanjay Kapoor’s Rannvijay Singh—are where the film finds its rhythm, balancing absurdity with genuine tension. Tripathi’s performance is a masterclass in understatement, his expressive face and measured delivery making Bhavani Singh the heart of the film.

The ensemble cast is a strength, with each actor chewing scenery just enough to make their character memorable. Sara Ali Khan as Bambi Todi brings a vulnerability that grounds the film, her wide-eyed innocence clashing delightfully with the club’s jaded aristocracy. Dimple Kapadia’s Cookie Katoch steals every scene she’s in with her sharp wit and unapologetic alcoholism, a role that feels tailor-made for her. Karisma Kapoor’s Shehnaz Noorani is a delightful throwback to her ’90s heist queen persona, oozing charm and cunning.

But “Murder Mubarak” stumbles when it tries to juggle too many subplots. The love story between Bambi and Akash feels rushed, their chemistry underdeveloped compared to the film’s other dynamics. The kleptomania twist with Bambi’s late husband adds an unnecessary layer of complexity that disrupts the momentum built by the central mystery.

Adajania’s direction is solid but unremarkable. The cinematography, while polished, lacks a distinct visual style, relying on static shots and muted colors that fail to capture the vibrancy of the source material. The score leans too heavily on generic thriller tropes, with synth-heavy stings that underline every revelation like a cheap parody.

The film’s strongest moments are its comedic beats, particularly the interactions between the club members. Tisca Chopra as Roshni Batra delivers a standout performance, her character’s nonsensical ramblings and braggadocio providing some of the film’s most memorable lines. Suhail Nayyar as Yash Batra brings a raw energy to his role, his portrayal of a drug addict struggling with rehab adding a touch of realism amidst the absurdity.

However, “Murder Mubarak” struggles to maintain its balance between satire and suspense. The film’s pacing falters in the second act, bogged down by repetitive interrogations that blur together. The reveal of the killer, while satisfying, feels rushed, lacking the build-up needed to make it truly impactful.

Thematically, “Murder Mubarak” explores class dynamics and the decay of India’s elite, but these ideas are often overshadowed by the film’s comedic elements. The satire is sharpest when it focuses on the club members’ obsession with British colonialism, a theme that resonates strongly in contemporary India.

In comparison to other recent Indian mystery thrillers, “Murder Mubarak” falls short of the mark set by films like “Drishyam 2.” While it shares their ensemble cast and darkly comedic tone, it lacks the tight scripting and emotional depth that made those films stand out.

The film’s exploration of class dynamics is particularly noteworthy. The Royal Delhi Club serves as a microcosm of India’s elite, where wealth and privilege insulate members from the consequences of their actions. The club’s members are portrayed with a mix of humor and disdain, highlighting the absurdity of their pretensions and the moral decay beneath the surface.

The film also delves into themes of addiction and mental health, particularly through the characters of Yash Batra and Bambi Todi. Yash’s struggle with drug addiction is portrayed with sensitivity, avoiding stereotypes and instead presenting a nuanced portrait of a man battling his demons. Bambi’s kleptomania, on the other hand, is used as a plot device more than an exploration of mental health, which is a missed opportunity for deeper character development.

The film’s setting in Delhi adds another layer of complexity. The city’s history and cultural landscape are woven into the narrative, providing a rich backdrop for the story. The Royal Delhi Club, with its British colonial architecture and elitist members, serves as a stark contrast to the vibrant, chaotic reality of modern Delhi.

“Murder Mubarak” is a film that will appeal to fans of dark comedy and mystery thrillers. Its ensemble cast delivers strong performances, and the film’s exploration of class dynamics and addiction adds depth to its entertaining plot. However, its pacing issues and lack of visual distinctiveness prevent it from reaching its full potential.

Ultimately, “Murder Mubarak” is a mixed bag—fun when it commits to its campy charm, frustrating when it gets bogged down in its own plot.