‘Zebra’ movie review: Satyadev’s financial thriller benefits from director Eashvar Karthic’s entertaining screenplay

Satyadev in ‘Zebra’
| Photo Credit: Special Arrangement

Weeks after Lucky Bhaskar, a tale of a bank employee whose greed nearly leads to his downfall, another film centred on financial fraud in the banking sector, Zebra, is out in theatres. Incidentally, Zebra also begins with a bank official instructing his subordinates, “We don’t want another Harshad Mehta.” However, the similarities between the films more or less end there. 

Zebra is a good example of how a storyteller need not necessarily dumb down a film to connect with his target audience and still deliver a typical masala potboiler. Director Eashvar Karthic (who earlier helmed Penguin) weaves the intricacies of a complex scam into an accessible screenplay that never loses sight of its primary goal — entertainment.

The story is intentionally straightforward — Surya (played by Satyadev), is a street-smart bank employee who, in a bid to protect his loved one, gets entangled in a complex multi-crore scam. He must do whatever it takes to prove his innocence. While the film has a traditional hero, a damsel in distress, a powerful villain and a humorous sidekick, no one is completely virtuous in this universe. 

The first hour proves that the director has done his homework on the banking sector well. Without overwhelming the viewer with jargon, the story taps into several loopholes within the system — from problems with cheque clearances to dormant accounts held by NRIs and account holders without nominees — and how the protagonist exploits these to his advantage.

Surya has no choice but to resort to white-collar crime, driven by a strong emotional conflict. Meanwhile, you sense what to expect from Aditya (Daali Dhananjaya), the antagonist. The ego battles between Aditya and his nemesis Gupta (Sunil) in their dealings over a helicopter seem predictable. However, none of the characters are easy pushovers.

The director does not shy away from using animalistic metaphors — the world is compared to a jungle, the fight is between an elephant and a dragon and Aditya tattoos his fingers with the various letters of ‘devil’. Until the intermission, the film focusses on the inner workings of a bank, and thereafter takes a surprise U-turn, transitioning into a no-holds-barred heist comedy. 

The significance of the leading lady, Swathi (played by Priya Bhavani Shankar), grows over time and Sathyaraj’s playful portrayal of a hawala dealer ensures excitement. However, the film loses its impact due to an ineffective backstory on Aditya’s past. The sexualised humour between Satya and his vampish superior (Jeniffer Piccinato) too leaves a poor aftertaste. 

Though the detailing in the backdrop and the quirky screenplay are Zebra’s primary strengths, the villainy is not creative. In most situations, the victims are predictable — a vulnerable woman or a helpless child. Probably to engage the viewer and maintain the pace in the proceedings, the director crams the last 45 minutes with too many twists.

Zebra stays alive because Surya, though driven to the edge, keeps finding innovative ways to bail himself out of trouble. While Garuda Ram’s extended cameo in the climax is the icing on the cake, the director’s last-ditch effort to extract sympathy by dramatising the protagonist’s ‘noble’ cause seems unnecessary.

The 164-minute duration is not irksome, thanks to the situational writing. Satyadev is sharp as ever with his composed portrayal of Surya, a character who is relatable but also has a larger-than-life presence. After fabulous performances in Geethanjali Malli Vachindi and Mathu Vadalara 2, Satya continues to captivate audiences, bringing the roof down whenever he is around.

Priya Bhavani Shankar finally has a substantial role in a Telugu film part, though Amrutha Iyengar’s cameo is forgettable. Daali Dhananjaya’s stately presence in a full-length role, as well as his dubbing, significantly his performance. Sunil’s portrayal of Madhan Gupta slightly reminds you of Jailer. It is relieving to see Sathyaraj free himself from the ‘ever-smiling’ father stereotype.

Composer Ravi Basrur makes the most of the opportunity to do something other than a high-voltage action entertainer. ‘Gaayalaina O Naruda’ is a refreshing instance of how innovative he can be. After a disappointing directorial debut with Penguin, Eashvar Karthic redeems himself with this clever financial thriller, ably supported by a committed bunch — on and off screen.