Adapted from a book ‘City Of Darkness’, The premise of Twilight Of The Warriors – Walled In isn’t exactly novel – a character embroiled in the underworld, is a concept that has been time and again utilized on celluloid to a limit of exhaustion. There are some vital cogs to this premise – an underdog who slowly makes his way to the top, with a diversion being either with respect to toppling an existing person of authority, or having enough stake as a backstory to invariably make it to the top. For Lok, it was the latter, a reason oblivious to him, even as he enters the Kowloon city, home to a hotshot Godfather of sorts, Cyclone who offers him a place to stay and some resistance from his rival gangster Mr. Big. I liked the world building here that played out opposite to the perceptions of the land – Kowloon was a city resembling a slum wherein people did work hard to make a living, ably supported by Cyclone, a barber who gad acted as a messiah for the land. So, it hardly comes as a surprise that Lok seamlessly fits into the world while having a personal stake in the larger scheme of things which is still oblivious to him.

Particularly in the Indian context, we have been fed with larger than life entertainers that completely rely on style more than substance with some over the top moves by some of the characters of the drama. So the one thing that I expect while watching such films is to be entertained. In that regard, the drama here scores heavily with its innovative action set-pieces that are meticulously integrated in the storyline. So despite the lean premise, you are completely hooked into the drama that offers a staggering bus chase sequence culminating into the Kowloon city. This sequence cleverly establishes the principal stakeholders of the drama with the fulcrum being Lok, something that kick starts the drama really well.

The proceedings are engaging particularly also when the focus shifts on the character dynamics in the drama. I must admit that the writing is least interested in getting deep into the psyche of the protagonist, with respect to the past that eventually connects his present. But despite that, the layers of morality are definitely intact as the driving force of revenge is nicely balanced by an act of kindness and protection, that forms the crux of the second act. The stakes in the drama are gently raised following an engaging rescue act which is essentially in the ‘us-versus-them’ mould, that also offers a game changer twist.

In a way, the drama unfolds like a classic underdog story of sorts when you choose to view the drama from Lok’s point of view. The good part though is the characterization of King, a ruthless antagonist who is also power hungry while going to any extent in proving his might and the throne. The supernatural elements though was a far-fetched ingredient in his character that added a layer to his trait alright, but nothing beyond that in the purest form. So when the finale combat sequence kicks off, it has layers to it but oddly lacks an important layer of complexity. The layers act in the form of multiple comebacks by Lok’s group, while always remaining predictable to the plotline of countering King who followed predictable beats. Sure, the fight sequence was ballistic but the final layer of unpredictability (even in the form of unsaid emotions emerging from the death of a friend for example) was missing. Nevertheless, the screenplay offers a high adrenaline rush by pressing all the right buttons while offering a solid action entertainer during the course of the drama.