Debutant director Sailesh Kolanu has helmed ‘Falaknuma Das’ fame Vishwak Sen in the crime-thriller HIT. HIT also stars Ruhani Sharma, Mohan Sharma, Bhanu Chander in important roles. Produced by Prashanthi Tipirneni, HIT is presented by ‘Natural Star’ Nani.

Vikram (Sen), a cop with an uncannily higher sense of smell, works at the Homicide Intervention Team (HIT) division of Hyderabad police, battles with PTSD after witnessing the gruesome death of his sister Sushmitha. Despite repeated requests by his girlfriend and forensic analyst Neha (Ruhani Sharma) to leave his job, Vikram doesn’t pay heed as he feels that work is his only respite from the demons of his past.

Vikram gets a devastating shock when Neha gets kidnapped by unknown miscreants, and finds out that this case is connected to the abduction of another woman named Preethi. In his pursuit to nab Preethi’s kidnapper, Vikram uncovers many uncomfortable truths that lead to the culprit. Accompanying Vikram is his deputy Rohith, who has his own personal battles.

Despite the generic characterization of Vikram, the film manages to turn its cliches over the head. For instance, the tragic backstory is used as a lead to the sequel. Vikram’s intelligence is effectively established where he deducts an unsolvable crime with the presence of wildflowers in the yard. 

The red herrings work too, but some of them feel a bit less believable. For instance, take the scene where the prime suspect of Preethi’s case, despite proving her innocence, admits to leaving a threatening note to her family. As Vikram rounds off multiple suspects, the screenplay raises more tension through suspicion. Another surprising aspect is that the film gives clues in the least expected places (the fragrance of an Atthar forms a main lead in the investigation).

Despite having a lot of characters, the screenplay doesn’t overpopulate itself with twists, and amidst the procedural, the narrative also makes room for subtle, free-flowing humour. There is a scene where a suspect is mocked for doubling up as moral police. Also, there is a scene where Vikram gets miffed by the shoddy work of a sketch artist. The dynamic between Vikram and his superior Vishwa (played by Bhanu Chander) feels endearing, and the subplot gives rise to a memorable scene where he threatens to ‘bury’ Vikram if he gets overboard with the investigation.

HIT really falters at the climax portion, where the procedural comes to an underwhelming reveal. Except for such minor shortcomings, HIT is a well-researched, fairly grounded and a gripping procedural. The legal ramifications of Vikram’s investigation are shown with authenticity (kudos to writer-director Sailesh Kolanu). One wishes that Vikram’s characterization was less ambiguous (the hallucinations he gets while searching Neha’s house felt unnecessary).

There is a sense of dread being created by the gloomy, sepia-toned visuals of S. Mani Kandan, with the pre-climax deserving special mention. Vivek Sagar’s music enhances the sense of anticipation, particularly in the climax stretch, where the narrative gives a major lead to the sequel. Vishwak Sen’s performance brilliantly emphasizes the mix of understated aggression and the vulnerability associated with Vikram’s characterization. Overall, HIT is an engrossing thriller that keeps you guessing for a major part.