Chhakka Panja marks the third joint effort between entertainers Deepak Raj Giri and Deepa Shree Niraula and a diverse team of comics, every one of whom share a typical provenance of prime time parody indicates flourishing with what could be extensively called ‘social parody’. While it is just common to see the convention of lighthearted element discover continuation in the Tito Satya team’s oeuvre, in Chhakka Panja, the move from the rambling way of an arrangement to a full length motion picture does not happen without a couple last details. The motion picture (around an inquisitive gathering of villagers in post-strife Nepal, where the settlement based economy is changing lives in striking routes) works with the comprehension of the wordy arrangement of television arrangement. Like a shade of peculiarity awkwardly given to a TV character to spare them from general terms (a catchphrase, for one), every one of the characters in Chhakka Panja are given an ethical leitmotiv, concocted to encourage the social mindfulness the film conveys to the blend. However, it is very perplexing to see Chhakka Panja utilize this favorable position just as a medium to cleanse itself of the demonstration of rejection.
Every one of the characters in Chhakka Panja are given an ethical leitmotiv, formulated to assist the social mindfulness the motion picture conveys to the blend. There is a particular rhythm to the conveyance of jokes in the twosome’s films portrayed by a constant conveyance which is just backed off to offer approach to operatic scenes. In Chhakka Panja, these scenes discuss the disrespectful men people of the town and thus the predicament of the ladies. In what can be just be depicted as uninvolved hostility of the more pleasant sex, the motion picture, coordinated by Deepa Shree Niraula this time, proposes a female uprising against patriarchy before at long last submitting to it, as though to say ‘kay garne’, an abstain which has its cause in the tirelessness of life in Nepal.
Priyanka Karki’s Champa is an exemplification of this accommodation. With an incredible wonder, the discussion of whom reaches out to far off towns, she is red hot when in scorn however not without the likelihood of honest to goodness delicacy. While it is not substantial on the double, Champa is an appealing character to which, Priyanka Karki includes with her energetic excellence. It likewise adds to the glorification of Champa that most different villagers are either maturing or are in their last years of youth. At the flip side of the range are the men, all the more particularly the cocky Bhagwaan false name Raja (Deepak Raj Giri) clutching his medieval past, completely mindful of the loosing impact his standing has on the villagers. It is noteworthy that a character like his discovers place in contemporary Nepali film which, at any rate in its connection, has sufficiently developed to grasp the adjustment in social order.
Be that as it may, it is no snickering matter that Chhakka Panja is unwilling to relinquish its subsidiary past and fits itself firmly in spaces of structure shaped of persevering jokes, one group move normal, one sentimental melody and a cameo; with no space to get away.
News Source: http://english.onlinekhabar.com/2016/09/14/386049