When theater actors entered Nepali cinema, movies like Loot, Pashupati Prasad were made. Crime thrillers and social dramas also entered a new dimension. Similarly, the team that has been making comedy series on television has established the comedy genre in Nepali cinema, where humor is sometimes found, in such a way that now, regardless of the genre of movies, comedy tone is found in most of them.

Currently, the new movie 'Laaz Sharanam' produced by the team of the famous teleserial 'Sakkigo Ni' is in the market. Directed by Kumar Kattel, this movie is getting a lot of buzz. Some are praising and some are criticizing. What is the story of this film? What is it about it that is getting praise and what is it that is criticizing it? Come, let's proceed to monitor the work of 'Laj Sharanam'.

The story begins with a painful scene that makes you laugh . Well, the reasons why you laugh can be varied and unfolding. Now let's follow the story. 

Following the story, you reach Gajju Dada . Together with Gajju Dada, you open a box of corpses from abroad and find them inside! The same scene repeats itself once again. Gajju Dada picks up the box again . However, this time, what should be in the coffin box! What should have happened, it was a disaster! Then, the story appeals to the businessman Sonalal and the minister!

Sonalal asks - 'Finally listen to it ?' Sonalal, a gold smuggler who is disguised as a member of the ruling party, hides gold in a coffin and makes a double-digit trade. But, after exchanging the box, he is worried - maybe the gold will not fall into the hands of the police ? On the other hand, his anxiety is increased by a foreign phone call that says - listen to your head! 

Do you think the film now goes belly-up about Sonalal's smuggling? His actions are exposed. Or he wonders why he is forced to do that business or why he is excited! But, nothing like that happens . The car of the story is now looking for boxes, chasing and running!

But, the vehicle is not the only one . There is also a second vehicle in the film which reaches Karnali from Kathmandu carrying the second story. The story there is a bit different. When you can't find what should be in the box, even in the time of grief, Dasain comes there! However, Dasha comes when you know that Dasain has arrived. Let's face it, looking at the tension here, Sonalal's tension is not tension!

By the way, did these two cars with stories reach somewhere and collide? It will become known .

The story of this film is non-linear, telling the story of Kathmandu and Karnali. Sometimes a car, sometimes a helicopter and sometimes a bike like a trip! Even though the story is being told here and there, the film is telling the story of the present till the time Sandesh Dhami is being followed by the camera . When the cameraman sees this character, then the family of this character also gets caught in the lens of the camera . The narrator of the film leaves the present and goes to the past and tells an interesting story. 

Who is Sonalal? Who is Gajju Dada? And Tule, who is Damodar ? For a moment, a message seems to stop the flowing time . For a while, the viewer's consciousness does not recognize anyone except Sandesh Dhami and his family. Let's say, for the audience, the gold is barely found. Within the story of Sandesh Dhami. 

But, the narrator of the film is not the audience. From where he started to tell the story, he has to reach there . The narrator is not allowed to leave Sonalal who is searching for gold. Leaving Dhami in her present state, the narrator returns to Kathmandu to meet Sonalal, who is in a bad mood, with Tule, who has come for Dasain. 

character and acting

film is the character given the most space by Sonalal . A character's hulia overshadows other characters, but whenever this character opens his mouth, it's as if he overshadows himself . Like a burning candle casts a shadow at its own bottom! It seems surprising, why can't Sonalal speak intelligibly when even Tule is speaking clearly? Does he chew his tongue and speak? Well, it looks beautiful only if the face and image are in place . 

However, if we look a little below the surface, this character of Sitaram Kattel does not seem to be able to create his own character circle . Throughout the film, he neither finds the lost gold, nor learns any lessons.  When it comes to

acting, the reason why Sitaram Kattel brings his famous telecharacters 'Dhurmus' and 'Khadka Ji' to Sonalal is not understood. If only Sonalal's own character should have been built instead of carrying Dhurmus as he did in the film to retain the Madhesi loveliness! Sonalal could definitely take Kattel to new heights . 

What to talk about Gajju Dada . Arpan Thapa's character is a grandfather in name only, the audience doesn't even get the trick when he is tata from the film. His character has not got the space to shine as much as he is good at acting as a villain. 

Sagar Lamsal's character Vijay is also an unclear character. Also, the use of this character to give a twist to the story seems admirable . However, the character's character cannot be clear if the audience is not told enough about the character's before-after, yesterday-today . Could the climax of this character have touched the audience if it was only clear that he cheated Dhami and supported Gajju Dada?

Well, Lamsal's acting in the role of Vijay, an ambiguous character in himself, seems average .

Let's talk about another victory. You played the role of Vijay Baral! Compared to the other characters, Tule seems a bit more interesting and natural . Even in a small space, the role played by this character in the story of the film is delicious. Like pepper in tea! In the background, what is going on in his life and what is in his mind, his transformation from Tule to 'Tole' and from Tole to 'Tuligande' in an instant is interesting as well as meaningful . If there is only one character in the entire film that completes the character circle, it is Tule! Also, Vijay Baral deserves praise for his acting.

Now let's talk about another victory. Vijay Lama, who is seen in the role of SP, is cumin in the mouth of an elephant in the film . Also, Gajju Dada has only been a clove in the elephant's mouth . The film also has a female character. However, while talking about many characters so far, you may not have thought that the female character is missing. Most of the female characters in the film are written in such a way that they don't even have to speak. Even if you have to speak, speak very little. Except for one character played by Renu Yogi, the female characters in this film are made in the mouth of an elephant. Kamalmani Nepal in the role of Damodar, Sitadevi Timalsina in the role of Jogi's mother seems evergreen. 

Renu's appearance is due to her character's complexity, seriousness and most of all her acting skills .  You must have guessed whose turn it is after

Renu . Yes, let's talk about the character of Sandesh Dhami played by Mahesh Tripathi. Why did the film take so long to reach this character? Perhaps the answer lies with the author. However, if the film could keep the story and thoughts this character carries as the main theme of its narration, this character could have carried the entire film on its shoulders.  Should we talk about

acting? Mahesh confirmed himself as the new star of the Nepali cinema world from his first film. As if 'Laaz Sharanam' is working to remove the cloud that is hanging in the sky of Mahesh's chest, the brightness of that star has been seen more brightly. 

This film is hunger sauce on a golden plate . The audience looking for a story in the film will leave the theater hungry. Neither gold, nor rice, they are very hungry - Chutney  !

cinematography

Cinematography is one of the best aspects of the film after the character writing and acting skills of the characters. Also, the opening footage of Kathmandu attracts the eye. However, some fascinating scenes are found a little further back. Jogi Patra and Thule's 'Tom and Jerry' scenes have been captured by cinematographer Sudeep Baral in an enticing way. Not only the activities of the two characters, it captures the houses and settlements of Karnali in an artistic pattern. Despite the complexity, the geographical and natural beauty of Karnali was shown to the audience by the minister. However, the beauty inherent in the settlements of Karnali has been brought to the audience by Baral's camera angle.

writing-directing

writing and directing come together when they reach the screen . Well, those two, why didn't they walk in two different directions! 

Gold smuggling in a coffin! Is the subject not serious? Politics on poverty in Karnali. Business over hunger! Let's see its sensitivity. Is the writing of the film able to do justice to such a serious and sensitive subject? This is where the sorrow comes from. Because, instead of capturing the essence of the film, it is to cook Sonalal's gold by boiling its sensibilities. 

The gold merchant's name is Sonalal! Searching for gold reaches Sonapur, Hulia meets the leader, speaks in an attempt to make the audience laugh! That's it, the film is happy with such superficial things . So happy that it seems that Sonalal's role is more tied to this superficial story than the actual story of the film . If Sonalal's story was too deep, would it have justified the audience's patience?

Again, there is the message that the film is trying to give - the leaders earn dollars by selling the poverty and hunger of Karnali. After all, how different is the film itself from business leaders like Sonalal ? Didn't the film also make Karnali's hunger a way to gain popularity? Otherwise, the story of Sandesh Dhami's family? How did they get to that point? The film itself has only taken Karnali's story as if it needed a pitko chutney for a big plate . After all, chutney is not for liking rice!