You are also told he uses the passport of the women he kills to plan his next escape. His modus-operandi is repetitive he sleeps with his prey and then drugs them to death. Now the plot veers between Goa, Mumbai and Delhi. To escape a death penalty in Thailand for multiple murders, Charles flees to India. You have simply bought into the explanation that he is a psychopath who can charm the panties off the women so much so, they don’t even notice when he is putting them down. That’s when you know that Charles Sobhraj, a Indo-French con man, who also has a penchant for killing women is around.
The intrigue kicks in when a couple of bikini-clad bodies are washed ashore a beach in Thailand. Working on a wafer-thin account given to him by the real-life Delhi cop, Amod Kanth, Raman still manages to infuse life (at least partly) into this film and into the life of the notorious killer. He also gets his protagonist’s physicality and smugness bang on. Prawaal Raman does a commendable job of recreating the 60s-70s. Main Aur Charles Review by Times of India The reel representation is all jumbled surface, with very little going on underneath: What made this man tick? The film gives us no answers.
Hussain tries hard, but is left to flounder: he fulminates too much, as opposed to the real-life Kanth who went after the real-life Sobhraj with the kind of dogged, smart approach that finally nailed the man.
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But it comes off as a slapdash, confused collage of scenes involving the famous jail break in which the real life Sobhraj broke free with several prisoners: it was the kind of astoundingly brazen ‘kaand’ whose reverberations were felt in the system for a long time.
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