“The way of the sword is pitiless,” her mentor observes. The wuxia heroine of Hou-Hsiao-Hsien’s The Assassin (2015) is an ace killer, but is failing her objectives by showing kindness on the field. The movies, however, provide their assassins with a moral compass, which proves to be their Achilles’ heel.
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He also managed to compartmentalise his private and professional lives without fuss, and was seldom conflicted about his life choices as seen in The Iceman. Kuklinski, however, was a product of child abuse who killed homeless people for practice in his early years until the mafia found him and paid him to do what he loved. Mafia hitman Kuklinski, who claimed to had killed up to 200 people, is a real-life example of the cine-assassins whose unsentimental approach to murder inspire awe. The job is easy only if you are a sociopath like Richard Kuklinski (Michael Shannon) in The Iceman (2012). The deaf-and-mute hitman in the 1999 Thai thriller Bangkok Dangerous is left heartbroken when his freshly acquired girlfriend screams and runs away on seeing him live in action. Nikita (Anna Parillaud) in Luc Besson’s La Femme Nikita (1990) is teary and distraught as she shoots a target from her bathroom, while her boyfriend complains about her secretive ways from outside the door. The movies tell us, no, as guilt, soul-searching, the stress of living a double life, and the fear of reckoning is dreadful enough to make Bob Biswas lose his hair.
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Now Bob, played by Abhishek Bachchan, has a wife and two kids in Diya Annapurna Ghosh’s release Bob Biswas, a spin-off of her father Sujoy Ghosh’s film.Ĭan you be an assassin but also have a normal domestic life? Can an assassin be at peace with their profession? Can an assassin afford to catch feelings? While the balding and potbellied Bob (Saswata Chatterjee) is a loser at office, the Bhodrolok insurance agent displays tier-A efficiency as a hitman.
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We saw Bob Biswas catch his targets unawares all across Kolkata, shoot them at point-blank range, and walk away without breaking a sweat for the first time in Sujoy Ghosh’s 2012 thriller Kahaani.