18th August 202222nd August 2024 by whatsonsidsmind

The Sandman-Review | Netflix | A Brilliant Adaptation of a Classic that is not just made for its Ardent Fans

Movie Review
Fantasy, Horror, Neil Gaiman, Netflix, The Sandman, Web Series
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Written by: Siddhartha Krishnan . 5 Min Read

To the unversed, a species that I belonged to as far as The Sandman is concerned, this new Netflix series might seem like a fantasy epic similar to The Lord of the Rings, Harry Potter or The Chronicles of Narnia. But such an assertion may not be fully correct. However, don’t get fooled into thinking that this is a Game of Thrones either! While Sandman’s universe boasts of gargoyles and other fantastic creatures, they deliciously exist only in the realm of where we spend one-third of our life—sleep. Thus, the concept and truths that this web series explores are as deep as our fabulous dreams and our worst nightmares.

The Sandman subverts the fantasy genre in more ways than one, in the end catering more to gothic horror fans than to fantasy fiction puritans. So there are many dark themes explored here with its fair share of blood and gore. But it also has an emotional depth that you don’t generally see in fantasy epics.

Based on the DC graphic novel series written by Neil Gaiman, published between 1989-1996, this screen adaptation was long awaited by its ardent fans. I don’t fall into that category, having discovered Gaiman’s writings only a year and a half ago. But ever since, his style of writing and his imagination have impressed me. He has a way of telling very true things in the most magical and unexpected ways. But I went into this series with little expectation since I am not a big fan of fantasy fiction. My apprehension―how was this adaptation going to appeal to an audience who knows nothing about the Sandman comics?

I was in for a pleasant surprise!

In recent memory, I don’t remember seeing a more precise and compelling opening to a series than this one. In just under three minutes, the concept, the world and the purpose of the story are unraveled.

I was hooked! At least for the first 6 episodes.

The hero, Morpheus, also known as Sandman or simply the Dream, is a god who controls the dreams of humans. We go into his realm to seek freedom and adventure and to face our fears and fantasies. He must control our dreams lest they consume and destroy us. But Morpheus is not a flawless god. He is vulnerable and often needs advice. He belongs to the family of the endless, whose members include desire, destiny, delirium, destruction, death and despair. Three of whom we meet in the first season. These eternal and universal forces have been given anthropomorphic personifications.

The story begins in 1916, when an occultist named Roderick Burgess invokes the god of death to revive his dead son, but mistakenly captures Morpheus. Unwilling to let go of the god he has erroneously taken captive; the Magus tries to seize his powers forcefully. He steals Morpheus’s tools in a bid to get richer. Thus, the lord of dreams is held captive for 100 yrs. When he finally manages to free himself, he realizes that without his tools; he isn’t as powerful as he used to be. So he goes in search of them, to restore balance in the waking world of humans whose dreams have gone berserk. Thus, begins an adventure through many magical worlds, including hell. We travel through a non-linear timeline spanning thousands of years to meet mythical characters like Lucifer and historical figures like Shakespeare. The scale is epic to the point of being overwhelming at times. But it remains for most parts engaging.

Season 1 adapts the first 2 volumes of the comic book series―Preludes and Nocturnes, and The Doll’s house. I found the first six episodes to be the most entertaining. Things move quickly and the themes are mostly dark. The much talked about fifth episode where the character John Dee puts his theory of truth and lies to the test, inside a diner using the staff and customers as guinea pigs, is where the writing is at its best. I am given to understand that the screenplay departs the furthest from the original in this episode. Critics of the graphic novel have said that Gaiman’s writing was the weakest here, where he subscribed to the horror tropes of the 80’s. I cannot comment on that, since I have not read the original, but I can say with certainty, that this contemporary adaptation made for some gripping cinema.

While the world and character building of the show are exemplary, adeptly supported by the CGI work, sound design and background score, the dialogues though did not sit well with me at all times. Especially in the later episodes where things get a bit verbose and sanctimonious. The darker characters have better lines than the virtuous ones. Furthermore, most characters are a shade of grey. There is no clear villain, except for Burgess, perhaps, and the truth is not monopolized only by the good guys.

From the little research that I have done, it was amply clear that while the screenplay writers (David S. Goyer, Allan Heinberg and Neil Gaiman) have been faithful to the original work; they weren’t imprisoned by it. The subtle changes that have been made were to better the original story or to contemporize it. The gender swapping of certain characters, for example, is not a trope but an attempt to give more life to the original characters. To an unassuming viewer like me, though, all of it came across as quite natural.

That brings us to the casting, which is another strong point of the web series. Tom Sturridge as Morpheus is brilliant, bringing the right amount of strength and vulnerability to his character. His physicality and voice were also apt for the role. Among, the supporting cast, I thought, Boyd Holbrook as the rogue nightmare Corinthian, Gwendoline Christie as Lucifer Morningstar and David Thewlis as John Dee were the most eye-catching. Mason Alexander makes a short, interesting appearance in this Season, as the gender fluid ‘desire’, evoking curiosity within the audience about the future of this character.

Considered as one of the most imaginative and intellectually stimulating comics ever made, The Sandman is one of those written materials which was thought to be unfilmable, much like The Life of Pi. It is a rare blend of mythology, history, horror and fantasy which gets the mind ticking. In the end, I think, for the fans the long wait has been worth it. The show has garnered rave reviews from critics and fans alike. As a relatively new fan of Mr. Gaiman and as someone who has not read the original work, I can only say that this Netflix series has all the ingredients to be a long running one. It is a brilliant adaptation of a classic that is not just made for its ardent fans.

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also an enthusiastic blogger and, on his website, www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and movie reviews.

10th July 202122nd August 2024 by whatsonsidsmind

Ray On Netflix – Movie Review | Revisiting the Short Stories of the Master Storyteller

Written by Siddhartha Krishnan . 6 Min Read

In Satyajit Ray’s short story Bonku Babu’s Friend (1962) a spaceship on its way to Pluto, lands by mistake into a pond in Kankurgachi (North Kolkata). From it emerges an alien, by the name Ang, with slender legs and arms, and a disproportionately large head, wearing a pink outfit covering everything but its face. A shocked bystander, a geography teacher, by the name Bonkubihari Datta is the only witness to this event. Ang manages to befriend its human counterpart, dazzle him with its technology, and fulfill all his wishes. On the surface, this might seem like science fiction; but at its core, this is a human story. Ray cleverly uses the allegory of the alien, to tell the story of a man, who thinks and acts differently from his milieu. In other words, an outcast — an “alien” among his friends!

Ray, the auteur, was also a prolific short story writer among other things. He wrote in multiple genres but was most famous for his science fiction fantasies like the Pterodactyl’s Egg (1962), Bonku Babu’s Friend (1962), and The Hungry Septopus (1962), as well as his horror classics like Khagam (1973) and Indigo (1968). His stories were tightly written, highly entertaining, and had elements of fantasy in them. But there was one indispensable quality which was as clear as daylight, and that was his understanding of human behavior and motivations. Ray’s humanism is what elevated his stories from the category of popular fiction into the realm of literature. This is the essence of his storytelling and without it, an adaptation of his classics will be incomplete. It is in this light that I will be reviewing the Netflix anthology Ray.

Forget me not – Srijit Mukherjee’s adaptation of the short story Bipin Chowdhury’s Loss of Memory (1963) is the story of a man’s fall from grace. This modern retelling is darker and more twisted compared to the original story. The director takes you to Mumbai, where we meet Ipsit Nair, the blue-eyed boy of the city’s corporate scene, whose memory is believed to be as sharp as a computer. But this notion is challenged early in the film when a mysterious woman appears before Ipsit and tells him about their first meeting in Aurangabad, which ended up being a short intimate affair. An incident he doesn’t have any memory of! This triggers a series of events that keeps the suspense alive till the end.

The commendable aspects of the storytelling are the camerawork and exceptional set design. The performances too are noteworthy, especially by Ali Fazal who tries his best to deliver a nuanced performance to capture the inner conflict of the lead character. But the film falters in its writing, and while you are intrigued by what is happening to Ipsit, you do not fully connect with him in a way that you end up either hating or empathizing with him. The film is entertaining but it could have been a lot more if it had sacrificed a few twists in the tale and invested that time in adding much-needed layers to Ipsit’s character.

Rating – 3/5

Behrupiya – Based on the short story Bohurupi, Srijit Mukherjee’s second film in this anthology is about a makeup artist, too timid, to confront the cruel world. But he finds a way to get back at the people who have wronged him by using the masks he has created as his armor. But will he succeed?

The film is set in the dark underbelly of Kolkata, and again Srijit manages to make a visually stunning film. This is also the darkest film in this anthology and the protagonist Indrashish’s character is perhaps the most complex. But, here too, the film falters with the writing, and with a skillful actor like Kay Kay Menon in the role of Indrashish, a lot more could have been achieved to show the mental conflict. Instead, the film becomes too verbose as it progresses. This for me was the weakest film in the anthology.

Rating – 2.5/5

Hungama Kyon Hai Barpa – Directed by Abhishek Chaubey and based on the short story Barin Bhowmick’s Ailment (1973), this film is widely regarded as the best in this anthology. In this adapted version, a vivacious ex-wrestler and a seemingly poised but self-absorbed ghazal singer, meet on a train journey. The conversation that takes place thereafter unravels the story through a non-linear narrative, and the audience is made to believe that these are two very different people. But are they?

With two powerhouse acting talents, Manoj Bajpayee and Gajraj Rao on screen, we are in for a treat. And they deliver, with their comic timing, and exemplary understanding of their craft! The director pays a near-perfect tribute to the master storyteller, with a generous dose of surrealism, and an ode to his frames. The imagination and execution were both immaculate. All through the interest of the audience is kept alive, by not indulging in excesses and sticking to the essence of the original story in this modern retelling. This is a film that is bound to leave a smile on your face at the end of it.

Rating – 4/5

Spotlight – At a little over an hour, director Vasan Bala’s adaptation of Ray’s short story Spotlight (1983) does test your patience. Also, this is an unusual adaptation, drifting the furthest from the original story in this anthology. But, the consistent caustic humor and a sprinkling of magic realism in the narrative manages to take the audience on a trippy ride.

At the forefront is a famous actor whose only claim to fame is a stare that he has been able to master. But he suffers a blow to his ego when he is confronted by a religious cult leader lovingly called “Didi” by her followers. Her popularity far surpasses his, which sends the self-centered actor on a path of self-discovery. What we get in return through the subsequent soliloquies is a homage to the master storyteller, through some interesting imagery and intelligently written dialogues. Also, through the social and political commentary, blended cleverly into the screenplay, we hear Ray’s voice but in a modern cinematic language. This was a brave film to make and the outlandish climax scenes justifies this statement. However, despite the evident departure from the original story, it still manages to preserve the essence of the original. This for me was the best of the lot.

Rating – 4.25/5

Overall Rating – 3.5/5

In the words of Charlie Chaplin, “the deeper the truth in creative work, the longer it will live”. The stories of the Aesop Fables, Panchatantra, and Arabian Nights have stood the test of time for precisely this reason. Through fiction, the greatest writers of the past, and the present have been able to convey truths about humanity. Ray is undoubtedly one of them. However, if his stories have to truly cross over to all cultures within India, and not be limited to the bookshelves of bibliophiles then such adaptations are necessary. These stories are for mankind, and they need to be told.

In the distant future, if an alien were to visit our planet after we were gone from it; I hope it discovers a scrap dealer’s shop like “Roohi Safa” (just like Musafir Ali did in the film Hungama Kyon Hai Barpa) which houses a rare collection of Satyajit Ray’s short stories. The book may not serve its purpose for visiting Earth, but the visitor is sure to gain an understanding of how we humans thought, and what our aspirations were through it.

29th May 202122nd August 2024 by whatsonsidsmind

Kala Movie Review – A psychological thriller which grows bigger as it unfolds!

Written by Siddhartha Krishnan . 3 Min Read

The Amazon prime video description of Kala, says that it is a psychological thriller. In line with this description, the many slow-motion sequences at the start, seduce you into believing that the film is one thing, before it transforms into something else. This metamorphosis is almost magical in this deeply allegorical and non-linear narrative, where two men are beating each other to pulp for half the length of this film. It takes a while to understand, that what is being handed out is not an enticing red apple, but a many-layered onion.

Kala is not a plot heavy film, and strangely, the story unravels through its innumerable fight scenes. However, this is not just a fight, it is much more! Expertly choreographed by stunt directors Basidh Al Gazzali and Irfan Ameer, these action scenes are brutal but not grotesque, and there is an unmissable lyrical quality to it. But it is not meant to excite you in the way a Jackie Chan movie would. You wouldn’t be rooting for anyone in this bloody combat, and yet watch the madness unfold with keen interest.

The film has a deep commentary on toxic masculinity but in an ingenious, non-preachy way. The screenplay by writer Yadhu Pushkaran and director Rohit VS, exhibits a level of maturity rarely seen in Indian cinema. In a scene from the film, a plane flies over the property of the lead character, Shaji. At that moment, he is engaged in a bloody duel, and the fight is captured from a height, as if to show it from the perspective of the plane. The triviality of it all comes out beautifully! But this is only one of the many perspectives explored and cinematographer Akhil George gives you an absolutely immersive movie-watching experience, ably aided by a gripping background score by Dawn Vincent.

However, it is in the two lead characters played by Tovino Thomas and Sumesh Moor that you are most invested in. The contrast in their physicality as well as their personalities sets everything up beautifully for what is to unfold on screen. A lot depended on their performances and they have, quite literally, put every single muscle of their body into this film. As a result, at the climax, we are as exhausted as these characters for all the blows (pun intended) thrown at us.

All said, don’t go into this film thinking it is only for the intellectuals, boring and too nuanced nor should you go into this film thinking it is only an edge of the seat action flick. It is neither, and a beautiful balance has been struck which makes it highly entertaining as well as intellectually stimulating. For its unique concept and execution, Kala deserves a 4/5.

Watch it on Amazon Prime Video.

Watch the trailer here.

24th April 202122nd August 2024 by whatsonsidsmind

Tenet Movie Review – A high concept, visual spectacle that should have been more emotionally engaging

Written by Siddhartha Krishnan . 8 Min Read

The last thing you want to do with a Christopher Nolan film, is to judge it too quickly. Given the high concept plots, sub-texts and layers in his films, they are bound to be inaccessible to some. In such a case a second or even a third viewing might help. However, I chose to let the film sink in for a week, and gradually assimilate whatever I had watched, before forming an opinion about it. But I have no qualms in admitting that I may not have understood all the nuances of Tenet (if that’s even possible). So, a second viewing is due. Also, I won’t be surprised if this film is considered a modern masterpiece in the future. However, at this point I can only tell you what I felt about it after having slept over it for a week. (Disclaimer – given the current covid scenario, I could not watch the film in a theatre and chose to watch it on Amazon prime video.)

All that we have come to expect from a Nolan film are present in Tenet — jaw dropping visuals, a spectacular opening sequence, a protagonist who has to save the world, and multiple sub-plots which bind together beautifully towards the end. However, there is another Nolan cliché that his films are notoriously famous for, and that is the complexity of the concepts that he explores. On that aspect, Tenet surely feels like Nolan’s most complex and mind-bending blockbuster till date.

The Amazon prime description of Tenet reads — “Armed with only one word – Tenet – and fighting for the survival of the entire world, the protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time”. So, this is a globe-trotting, action adventure shot in multiple locations around the world. These locations are important to the film, because the lead character has to save the “world” from an impending danger. “Time” as everyone knows is an important element in many of Nolan’s films, and he uses it in path-breaking ways. In Tenet, he introduces the concepts of “time inversion” and “reverse entropy” to create an absurd sci-fi landscape where the past, present and future are warring with each other in one frame, glimpses of which we can see in the trailer. However, Nolan has clarified in his interviews that Tenet isn’t exactly a film on time travel. Also, beneath all of these complexities is a very human story, and that is so easy to miss in a film as fast-paced as this one.

We all know that Nolan is not a big fan of CGI. Hence, the fight scenes of Tenet, using practical effects, have left audiences wondering as to how these scenes were choreographed to such perfection. It is believed that Nolan took inspiration from dance choreography so that stunt performers could do the movements forwards and backwards without reversing the film. The fight scenes are undoubtedly the film’s big plus point. (Ref. cbr.com)

Nolan’s go to man for the background score, Hans Zimmer, wasn’t available for this film, since he was committed to “Dune”. So, in came Swedish composer, Ludwig Göransson, Grammy and Academy award winner, known for his score in the 2018 superhero movie, “Black Panther”. I for one, did not miss Hans Zimmer in Tenet, because the score sounded so much like his. If I hadn’t googled to find out who the composer was, I would have assumed it to be Zimmer! During the pandemic, Göransson had recorded the musicians at home and what we finally get is captivating.

However, as with Nolan’s earlier films, the sound-mixing of Tenet, has received some criticism. The over-bearing sound mix has at times made the dialogues incomprehensible. I have experienced this in Nolan’s earlier films as well, but in this film, it felt a tad too jarring. But Nolan seems unapologetic about it. This was his defense of the sound-mixing of Interstellar, “Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound. I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film.” (ref: Indiewire). Okay, but I guess only die-hard fans of the director will buy that explanation.

Visually, though, Tenet is breath-taking! Cinematographer Hoyte Van Hoytema might have just shot an IMAX masterpiece. This is the third collaboration between Hoytema and Nolan after Interstellar (2014) and Dunkirk (2017), and this is Nolan’s sixth film that is shot in 70 mm IMAX. With each film the director seems to be pushing the boundaries and taking it a notch higher. The methodology used is to find innovative ways to make a 30 kg IMAX camera portable. We have seen that in the spectacular action sequences of Dunkirk and Dark Knight Rises, and given the complex concept of Tenet, we can only imagine the innovations that went behind shooting the fight scenes.

Due to the many sub-plots, there are several characters in the film. The ensemble cast comprises of John David Washington (protagonist), Robert Pattinson (Neil), Elizabeth Debicki (Kat), Dimple Kapadia (Priya) and Kenneth Branagh (Andrei Sator) in the important roles. Although, all the actors have done their jobs well; due to the backstory, it’s the characters played by Elizabeth Debicki and Kenneth Branagh you will be most invested in. The reason you do not relate to the journeys of the other characters is because of the screenplay, which is perhaps the film’s weakest point.

Tenet is a plot heavy film, like many of Nolan’s other films. But I think he was so enamoured with the concept of this one, that beyond a point it felt like he was resorting to exhibitionism. Therefore, the film takes too long to start making sense and to unravel all its layers. There are several scenes where the protagonist is seen discussing the science behind it all with other characters, which comes at the cost of a gripping narrative. The screenplay is also so fast-paced that within the blink of an eye you can miss out important elements.

The complexity of the plot/concept also ensured that the reactions to the film were highly polarized. Some found it fascinating while others found it inaccessible and boring. However, I felt that it wasn’t the concept, per say, that was a turn off, but the excessive investment in it. Instead, if the characters were a little more layered and humanlike, they would have been a lot more relatable. Moreover, this is a human story and not just a sci-fi fantasy, which audiences will realize towards the end.

But Christopher Nolan is one of those directors who keeps pushing the boundaries with every new film. Perhaps his greatest attribute is that he believes in the intelligence of his audience. When directors around the world are dumbing down their stories to such levels that all you need to do is to keep your eyes and ears open, here is one director, who wants his audiences to think. He is also constantly innovating to give his audiences something new each time. This is why he is widely regarded as a modern master of cinema and deservedly so.

My final word — Tenet is a high concept, plot-heavy, visual spectacle that dazzles you several times but does not keep you emotionally invested throughout. But for the imagination and the subsequent innovations that went behind the making of this unusual film, it deserves to be watched. I will give Tenet 3.5/5 stars. It is available on Amazon prime video.

20th April 202122nd August 2024 by whatsonsidsmind

Love Movie Review – A cleverly disguised psychological thriller that gives the chamber drama genre a fresh template!

Written by Siddhartha Krishnan . 4 Min Read

Khalid Rahman’s “Love” starts off rather innocuously with Deepthi (Rajisha Vijayan) getting an ultrasound done at a hospital, and finding out that she is pregnant. She calls her husband, Anoop (Tom Shine Chacko), but he doesn’t answer the call. Anoop is at home, making himself a glass of whiskey, when he gets a message on his phone — “I’m pregnant”. Everything that happens, thereafter, in this psychological thriller cum chamber drama, cannot be taken at face value. Also, revealing anything in this film could turn out to be a big spoiler. So, I will try to keep this review as spoiler free as possible, because this film deserves to be watched, despite its flaws.

“Love” has been a topic of discussion lately, due to its ending, which many felt was confusing. However, the truth is that the ending, per say, is not rocket science. It’s all that happens before the ending that is new, weird and perhaps a bit puzzling. Without giving too much away (anyway all of it is in the trailer), towards the beginning of the film, we see Deepthi and Anoop, engaged in a vicious verbal fight which eventually leads to physical violence. This is a sequence that gets repeated towards the end as well, leading to an unexpected closure, hence the confusion. However, as a viewer if you have paid attention to all that has been happening, including the little clues that the writers have thrown into the screenplay, the so-called unusual climax and unexpected closure, will all the start to make sense.

The screenplay by Khalid Rahman and Noufal Abdullah, is undoubtedly the most commendable aspect of the film. It is deceptive, cleverly sequenced and uses dark humour. The absurd conversations that happen between some of the characters are bound to make you wonder — what the hell is happening here? So, the film draws comparisons to Hitchcock’s “Rope” and Ram Gopal Varma’s “Kaun”. But then it unexpectedly slips into surrealism becoming mind-bending at times, and you could spot shades of Nolan as well. However, the story is original.

“Love” was shot in the middle of the pandemic last year, following covid protocols, which explains the single location setting with only six actors. The shooting is believed to have been completed in just 23 days! However, even with the restrictions, the film manages to stand out aesthetically. The cinematography by Jimshi Khalid is intriguing and many unusual camera angles have been used to aid the bizarre narrative. The background score by Yakzan Gary Pereira builds the suspense and adds to the absurdity. All the actors in the ensemble cast have done a fine job, ably led by Tom Shine Chacko, but it is Gokulan and Sudhi Koppa as Anoop’s friends, who will grab your attention.

The writing is fresh but in it lies the flaws of the film as well. For a script that was so well written, the ending, although unexpected, feels abrupt. At 91 minutes, this isn’t a long film, so it could have done with a few more layers to the story and the lead characters — their past, background etc. This could have made this really good film, a great one! However, director Khalid Rahman’s “Love” is a courageous venture because it gives the psychological thriller cum chamber drama genre a fresh template. For that, it deserves 3.5/ 5 stars and should be watched. It is available on Netflix.

16th April 202122nd August 2024 by whatsonsidsmind

Joji Movie Review | Fahadh Faasil | Dileesh Pothan

Written by Siddhartha Krishnan . 5 Min Read

In a scene from the film, Joji asks his sister-in-law, Bincy, whether his elder brother has spoken to their father? To which Bincy replies, that their plan will never ever work and that his good days will be wasted on the kitchen slab. Joji, smirks and exits the kitchen. The camera pans backwards and a wide angle shot, complemented by a haunting background score, captures the exasperation of Bincy and Joji, in one frame. Both sulk in silence. The scene conveys the confusion lingering in the minds of the two characters, without many dialogues and screen time. Yet, it is a pivotal moment in the film!

After having watched Dileesh Pothan’s earlier two films, “Maheshinte Prathikaram” (2016) and “Thondimuthalam Driksashiyam” (2017) (both National award-winning films), one thing was clear, that he wasn’t going to repeat himself. The worlds, characters, and the cinematic language were all very distinct in his earlier films. However, what was constant is the minimalism, and that continues in “Joji”.

Shakespeare’s tragedy “Macbeth” written over 400 years ago, was about a Scottish general, who, consumed by his ambition and spurred to action by his wife, murders the King to take the Scottish throne. Widely regarded as one of the best characters ever written, Macbeth, shows the workings of the complex human mind, when blinded by desire, and the subsequent descent into madness, guilt and paranoia. The universality of the play’s messaging, allowed flexibility to filmmakers to contemporize and adapt the story, according to their sensibilities. Macbeth could have been anyone, anywhere in the world. So in the case of “Joji”, we are amidst the vast green expanses of Erumely, and inside the house of the affluent Panachel family, where we meet Joji, the youngest of the three sons of the imposing family patriarch Kuttappan PK. Physically the weakest, but deceptive and the most ambitious.

The film starts off with the disclaimer that it is inspired by Shakespeare’s “Macbeth”, which means that this isn’t exactly an adaptation, as many are making it to be. Yet, there is a lot of “Macbeth” in this film, in ways that you may think wasn’t possible, and writer Syam Pushkaran deserves credit for that. The attention to detail is immaculate, and nothing seems out of place. The intelligence of the writer shows in the scenes and intricately layered characters he has written. The narrative is sprinkled with allegories and the use of dark humour to mock traditions and show the behavioural transformation of the brothers to serve their self-interest makes for some gripping cinema.

Cinematographer Shyju Khalid’s lens, once again, manages to make the cinematic experience immersive. Close-up shots followed by wide-angle ones, is what he uses to take you into the mind of a character, and then give you the bigger picture. Also, the use of mirrors in the storytelling was very clever. The background score by Justin Varghese has a brooding, haunting quality to it. Western orchestra, mainly cello and violin, has been used to complement the moods and thoughts. Given the milieu, the background score might take you by surprise but the choice of music is definitely a masterstroke. It adds to the drama unfolding on the screen.

But in a performance driven film like this; a lot of the heavy-lifting has to be done by the actors. The ensemble cast consists of PN Sunny (as Kuttappan PK, the dominant family patriarch), Baburaj (as Jomon, the turbulent and alcoholic eldest sibling), Joji Mundakayam (as Jaison, the unassuming middle brother), Unnimaya Prasad (as Bincy, the quietly scheming wife of Jaison), Alister Alex (as Popy, the malleable son of Jomon) and Fahadh Faasil (as Joji, the complexed youngest sibling). Although, the story is centered around Fahadh’s character, the other actors also had a lot on their plate, since the scenes are written in such a way, that they have to feed off each other, giving room for a lot of improvisations. And they have all delivered superlative performances. Some of the best scenes in the film are when the family members are together in one frame.

However, a lot rested on the shoulders of the central character, and Fahadh, through his expressive eyes, physicality and body language becomes “Joji”. Due to the physical transformation, beyond a point, you fail to see Fahadh, and you see only “Joji”. It is difficult to say whether, this is his best performance because he has many to his credit. But this could be the most complexed character he has played till now, and he pulls it off with aplomb.

Malayalam cinema is truly having a golden run at the moment, challenging even the late 80’s and 90s golden era. No wonder, they have got the attention of filmmakers and movie lovers across the world. Through sheer technical brilliance, they seem to have the ability to make a 5-crore film, look like a 50-crore one! They also have the best content, and some of the most naturally gifted actors. “Joji” is another feather in the cap of Malayalam cinema, and with it, director Dileesh Pothan has hit the ball, out of the park, for a third consecutive time! For its powerhouse acting performances, technical brilliance, engaging screenplay and minimalism, “Joji” deserves 4 / 5 stars. You can watch it on Amazon Prime video.

23rd December 202022nd August 2024 by whatsonsidsmind

Paava Kadhaigal (Sinful Tales) – Movie Review | An Essential film about a Sinful World that we have Created

Written by Siddhartha Krishnan . 4 Min Read

The trailer of the Netflix anthology ‘Paava Kadhaigal‘ promises four gut wrenching stories, and it delivers. However, this isn’t a celebration of pathos nor an overplay of grotesqueries. It’s a film that mirrors the evils that we have created, nurtured and stood by. It shows that the systemic problems and crimes that flourish in a patriarchal order, have put the victim and the perpetrator in a vicious circle, that is difficult to come out of. The film manages to shock you because all that you have considered safe—like your house, your family have become nurturing ground for evil. And, while we think that this will not happen to us, we are certain that this has happened somewhere. It’s this realism which keeps you at the edge of your seat throughout the film, despite its apparent flaws.

Four talented filmmakers have come together to tell these compelling stories, while lending their unique voice to it. Hence, even though there is a common thread— ‘honour killings’, the stories as well as the storytelling are all different in its own way.

In Sudha Kongara’s, ‘Thangam’ (My Precious) a transperson harbours dreams of a different life for which he has been saving money. He is unapologetic about his identity so, he is unaffected by the noise that surrounds him. But things don’t work out as planned and the ones out to cut his wings are his own. While the film resorts to melodrama at places, it still manages to convey the anguish in a way that will linger. The performance by Kalidas Jayaram in the lead role of ‘Sathaar’ was exceptional. The cinematography by Jomon T John and music by Justin Prabhakar also elevate the film considerably.

Vignesh Sivan’s ‘Love Panna Uttranum’ (Let Them Love) is a film about two twin sisters out to break the news of their choice of partners to their politician father, whom they believe has changed over the years. Although, dark humour is the chosen tone for this film, it addresses the deep-rooted problem of casteism while exposing the hypocrisy that pervades it all. In the end, is there really a choice, the film asks? The writing of this film could have been tighter, especially the end which felt a bit abrupt. The performances by Padam Kumar in the role of ‘Veersimman’ and Jaffer Sadiq as ‘Mr. Narikutty’ deserves a special mention.

The third film ‘Vaanmagal’ (Daughter of the Skies) directed by Gautam Vasudev Menon is about a traumatic incident that happens in the life of a closely knit family and how things spiral down from there. The film explores how even so-called regular folks can be driven to insanity by the noise that society creates, thereby, clouding their reasoning and testing their morality. The ending of the film will shock and then soothe in equal measure, which is a result of some clever writing. Simran in the role of the mother ‘Mathi’ does full justice to her part and the music by Karthik creates the desired impact.

The last film ‘Orr Iravu’ (That Night) directed by Vetri Maaran is perhaps the most difficult film to watch in this anthology. While this is clearly the director’s comfort zone, he surely brings on his A-game. It’s a slow burn which gradually proceeds towards a sudden switch that works like a magic trick. From there on, the scenes become nauseous to watch, as the director shows his craft as well as the power of this medium. The performances by Prakash Raj and Sai Pallavi, are going to be talked about for years to come. The cinematography by S. Suresh Bala and sound design by T. Udayakumar was stellar. This was a near perfect film.

If you are to review these films from a pure filmmaking perspective you might find a few flaws, here and there, especially in the writing in some of them. However, what is not questionable is the honesty with which all of these directors have approached their respective films. For some it was a clear departure from what they usually make. However, together, they have been able to ask some important questions without being sanctimonious with their messaging. For this reason, ‘Paava Kadhaigal’ is an essential watch. It throws in all the requisite punches, making you feel uncomfortable at places but keeping you engaged till the end. The film deserves a 4/5. Watch it on Netflix.

Pic credits: the hindu, koimoi.com, quint, binged.com, imdb and pinkvilla

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories.

He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

25th June 202022nd August 2024 by whatsonsidsmind

Bulbbul Movie Review: A gripping end of innocence story in the garb of a horror flick

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By Siddhartha Krishnan . 3 Min Read

Anvita Dutt’s directorial debut “Bulbbul” produced by Clean Slate Films, borrows heavily from Bengali literature, Hindu mythology and folklore, as far as the aesthetics are concerned. Hence, the opulent mansions of 19^th century Bengali aristocrats, their suave period costumes and typical names, seem all too familiar. But this film is no “Chokher Bali” or “Charulata”! Masquerading as a horror flick, this is a gripping, end of innocence story, about big mansions and their horrific secrets. It is a film with a strong social message on the deep-rooted nature of patriarchy but slips into the dark fantasy or dark fairy-tale sub-genre through some clever writing. What we get in return, is an original and highly entertaining film which will keep you engaged till the very end despite its apparent flaws.

Right from the very onset, the first thing that strikes you about “Bulbbul”, is how visually spectacular it is. The cinematography by Siddharth Diwan (DOP of “Trapped” and “Bhavesh Joshi”) is commendable; each frame is well thought out and has a lyrical quality to it. The use of the colour red in many of the frames (which has irked some critics) adds to the fantasy element of the storytelling. It also evokes and intensifies the desired emotion in the audience, as does the haunting background score by Amit Trivedi. The attention to detail exhibited by production designer Meenal Agarwal in creating the world of “Bulbbul” in terms of its locations, costumes and décor is also praiseworthy. Nothing seems out of place and the audience gets an immersive cinematic experience because of it.

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“Bulbbul” also boasts a stellar cast comprising of actors like Rahul Bose, Parambrata Chattopadhyay, Paoli Dam, Avinash Tiwary and Thripti Dimri. All the actors have done full justice to their roles, however, Thripti Dimri in the lead role of “Bulbbul” and Paoli Dam as “Binodini” stand out. The unusual dynamics of their relationship due to their age difference, in the backdrop of misogyny and abuse within the four walls of their mansion, give us some of the best scenes of the movie.

Anvita Dutt, who is an established writer and lyricist in the industry has come up with a unique concept and story for this film, although, the underlying theme which is patriarchy and domestic abuse is familiar to all of us. But for her to have taken a much-explored theme and to have embedded it seamlessly into a world of mysticism and folklore is admirable.

But in the writing lies the flaws of the film as well. The ending specifically feels a bit abrupt and sadly predictable. And, in the end you could feel that the film should have been thirty minutes longer through the incorporation of a few missing and much needed layers which could have elevated the film considerably. But, that said, the film at no stage will bore you because the visual storytelling is so riveting.

The social commentary of “Bulbbul”, on how deeply entrenched patriarchy is in our society and how it has not changed through the centuries also makes it an essential watch. The dark and twisted nature of the plot therefore is justified because to survive the evils of patriarchy, women, time and again have been forced to don the avatar of the “Goddess” and the “Witch”.

For its originality, performances, stunning visuals and bold storytelling, I am going to give Anvita Dutt’s “Bulbbul” a 3.5/5 rating. You can watch the film on Netflix and check the trailer out by clicking the link below.

Trailer “Bulbbul”

Pic credits: Clean Slate Films, Netflix, HindustanTimes and NDTV

Siddhartha Krishnan is the author of “Two and a Half Rainbows – A Collection of Short Stories“. He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

13th November 201922nd August 2024 by whatsonsidsmind

Jallikattu (2019) Malayalam Movie Review : A visual spectacle and an immersive cinematic experience, not to be missed!

Poster of Jallikattu

By Siddhartha Krishnan . 7 Min Read

Ever since the trailer of “Jallikattu” had released on YouTube it had captured my imagination. I was eagerly waiting for its release because in my opinion its director Lijo Jose Pellissery is bit of a genius!

An 11-minute continuous shot constituting the climax (watch the making) of his 2017 film “Angamaly Diaries” (its on Netflix) will forever remain etched in my memory. It was unlike anything, I had seen before – original, audacious, innovative and visually spectacular.

Post this, Lijo came to be known as the “master of chaos”. You will have to watch Angamaly Diaries (2017) and Jallikattu (2019) to understand why he has been given that title?

Poster of “Angamaly Diaries”

I knew that the chances of watching this film in a theater were very slim given the number of screenings Malayalam films get outside of Kerala. Hence, I had to wait till the film released on Amazon Prime Video. And, as soon as it did, I watched it.

I will try to keep this review as spoiler free as possible.

Note: there are links in this article in case you are interested in diving a bit deeper into the topics discussed.

The Story:

The premise of the story is very simple. A buffalo which is about to get slaughtered escapes from the slaughterhouse and unleashes havoc. It runs amok on the roads of a quaint little town, on the outskirts of a forest, ravaging property and gravely injuring the locals. Everyone who becomes a victim of its wrath, turns vengeful and selfishly wants a piece of it. Thus, begins a massive bull hunt. Sounds simple? – Well, in a way it is!

However, as with any good cinema there are multiple layers, nuances, sub-plots and symbolism attached to all what is unfolding on-screen.

A mesmerizing scene from “Jallikattu”

The story moves at a break-neck speed. In the beginning it is humorous and satirical and towards the end it becomes dark and murky, as the lines between man and beast, start to blur. The locals become increasingly desperate due to repeated failures and are overcome by greed, mistrust and finally rage.

At times, it felt, with each passing scene the director is peeling a layer off to show what we humans truly are at our core – “Animals”.

You might be driven to think at this point that this is art house cinema. Boring and too nuanced. Well, let me assure you, that it is not. The movie is just 94 min long and from start to finish it is a roller coaster ride.

Moreover, the director is not shoving anything down your throat. You can take whatever you want from the film and derive meaning out of it basis your understanding of the world.

By the way the title of the film, just like it’s trailer, is a bit misleading and purposefully so. The film has nothing to do with a traditional sport played in Tamil Nadu except for some symbolic references.

Technical Aspects:

Cinematography:

This movie is quite literally carried on the shoulder of its DOP. Cinematographer Gireesh Gangadharan is undoubtedly the hero of this film. It is quite evident that the director came up with some insane demands and the DOP said “yes” to all of them. Some of the shots in this film will compel you to think, “How the hell did they shoot this?”, given the fact, that Malayalam films like these are made on small budgets. It is clear, Lijo and Gireesh, are a great team.

One many of the many spectacular shots in the film

Some scenes in the film reminded me of “The Revenant” and the pairing of director Alejandro González Iñárritu and cinematographer Emmanuel Lubezki. Not that this film has anything to do with “The Revenant” but the sheer audacity to imagine certain scenes – like the famous bear attack scene or the scene where Leo falls off the cliff with his horse (a top down shot), is where I find the similarities.

The “Bear Attack” scene from “The Revenant”

Much like “The Revenant” there are many jaw dropping scenes in Jallikattu albeit not of the same scale. This is essentially a sound and light show. For most parts, you will see massive crowds running through the forest, holding torch lights, passing by waterfalls and mountain streams creating anarchy in a jungle. Its a minimalist approach (with no or very less CGI) yet it keeps you hooked throughout. An animatronic buffalo was used to shoot some of the bull attack scenes, where you see the chaos through the bull’s eyes.

The climax scene just like in Lijo’s “Angamaly Diaries” will leave you stunned! I can’t give that away as it will be a massive spoiler.

Sound Design and Background Score:

The other stand out feature of this film is the background score by Prashant Pillai and the sound design by Renganaath Ravee. Again, very simplistic yet arouses the desired response within the audience.

There isn’t much music at the first place. Just chants of “Hoo” and “Haa” but perfectly in sync with the mood of the crowd and the intent of the scene. The overall effect is guaranteed goose bumps.

Editing:

The opening scene of the film testifies the contribution of editor Deepu Joseph to this project. At the crack of dawn, the bulbs switch on, the clock ticks, eyes open, ants crawl and the characters are introduced. Their jobs, their routines and their lives in perfect sync with the stellar background score and all of this happens in 8 minutes straight. The world of “Jallikattu” becomes crystal clear to the audience. Everything moves at a fast yet required pace.

Production Design, Action Choreography and Costume design:

The production design by Gokul Das helps you stay engaged with the place, its people and happenings. The scene (spoiler alert), where the crowd works in unison to pull the bull out of a well is worth mentioning here.

But the way the movement of the crowd was choreographed within the jungle, at night, and the subsequent anarchy that unfolds, is simply breath taking and more than made up for some of the flaws.

The costume design by Mashar Hamsa was apt for the characters of the film. It was rustic, raw and relatable.

Writing:

The film is based on a short story named “Maoist” by S. Hareesh who is the screenplay writer of this movie along with R. Jayakumar. Research suggests that creative liberties have been taken with the original story to make it more cinematic and engaging.

The final product is crisp and packs a punch.

Direction:

A Scene from “Jallikattu”

I think enough has been said already about the technical know-how and craft of Lijo Jose Pellissery.

To add, I’d just like to say this, that when you can make the simplest of things like the opening of eyelids, crawling of insects, cutting of meat or the dripping of sweat, cinematic and immersive, you know that there is someone gifted managing the show.

From there, when you take the story forward and mount it on a grand scale what you end up getting is a visual spectacle. Lijo proves again that you don’t need big bucks to make a good movie. What you need is honest intent.

Acting

Although, known faces like Chemban Vinod and Anthony Varghese are part of the cast, they are also part of the crowd.

In many ways the crowd is the only actor.

Hence, you cannot really pin-point, one great acting performance, because actors keep coming and going out of the frame within the blink of an eye. Moreover, it does not feel that the actors are really acting. It’s as if a real bull was let loose and their reactions were being captured.

Criticism:

It is not that the movie has no flaws. All you need to do, is to ask, what these people were chasing at the first place? It was just a buffalo and not a tiger or leopard!

So, what was the fuss all about? To add to that, when you know that 90% of this film is based on this premise you might be inclined to question the logic of it all. In a way, I do agree that this criticism is justified.

A gripping moment from the movie

But the counter to this point is that the writers may have had no intention to take you through this chaos into a real world at the first place. Maybe, it was all meant to be a bit surreal.

Towards the end there is a scene (spoiler alert) where an ailing old man looks out of his window and finds the buffalo with a halo around its head. A case to support the surreal theory or was it just my imagination? I will leave it up to you.

Verdict:

Let me assure you that I can be very critical when it comes to cinema. I usually choose not to speak about movies which I didn’t like and let them pass. Also, I am very choosy with the movies I watch and the books I read. So when I do venture to see a movie, I expect the makers to respect my time and money. My only demand is to be entertained.

Furthermore, I don’t believe in classifications like art house and commercial cinema. I think there can only be two classifications – good and bad cinema. Language, country, state, region etc don’t matter to me because I like good cinema and watch all kinds of movies from around the world. I think only people who are okay with mediocrities, associate with these kinds of meaningless classifications.

So, did “Jallikattu” entertain me?

I think it did – with its creativity, innovation and originality along with a nuanced and layered story line. It has its flaws but the vision of the director and the craft of the DOP keeps you engaged and invested till the end. I will give 4/5 for Lijo Jose Pellissery’s “Jallikattu”. It is a visual spectacle and an immersive cinematic experience not to be missed!

Before I end:

The film premiered at the Toronto International Film Festival in September 2019, where it got a standing ovation from the audience. It was also showcased at the BFI London Film Festival and the Busan International Film Festival and got widespread critical acclaim. The film released in India on 4^th October 2019. It has been given a 7.7 IMDb rating and you can watch it on Amazon Prime Video with English subtitles.

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5th November 201922nd August 2024 by whatsonsidsmind

Joker (2019) Movie Review : A dark character study, impeccably written and masterfully portrayed

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Pic credit: Imax.com / Copyright: Warner Bros. Pictures

You must be wondering, why am I reviewing a movie, which released a month back and has a million reviews, already in the market?

Well, there are 2 reasons for it –

I only managed to see the “Joker” in the theater last weekend and,
I will not be able to get any sleep, until I manage to share my experience of watching it.

It was that good and compelling!

Before I start, let me tell you, that I am not a movie critic, nor do I have any significant experience of reviewing movies. But I am an admirer of good cinema and whenever I get to see some good work, I feel compelled to talk about it.

Disclaimer: I will try my best to keep this review as spoiler free as possible, because my intention is to reach out to those who have not yet seen the film and are contemplating watching it this week. But that said there might be some spoilers ahead.

The Story and Characterization:

In the Dark Knight (2008), Michael Caine’s character Alfred, recalls an anecdote from his life, which he narrates to Bruce Wayne (Batman). He does so, because Bruce (Christian Bale) is unable to comprehend, why the Joker behaves the way he does? Alfred tells Bruce, that he may have failed to understand the Joker and substantiates his point, by recalling a certain incident from his past and says, “Some men aren’t looking for anything logical like money. They cannot be bought, bullied, reasoned or negotiated with. Some men just want to watch the world burn”.

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Pic credit: knowyourmeme.com / Copyright: Warner Bros. Pictures

In one of the ending scenes of Joker (2019) post the climax (spoiler alert) – Arthur Fleck (Joker) is arrested and is in a police van. The policeman, driving the van, points out the anarchy that is unfolding on the streets and blames him for it. Arthur (Joaquin Phoenix) responds by saying, “It’s beautiful. Isn’t it?”, while subtly paying tribute to Heath Ledger’s portrayal of the Joker (watch the movie to get this point).

But this is where, the similarities between the two movies end. What I am trying to get at, is that, the Joker is not your typical DC movie. It’s anything but that. This is a dark character study, into the mind of one of the most iconic villains in Hollywood history, told through a riveting and intelligently written origin story. In many ways, it is a slow burn, but ironically it keeps you at the edge of your seat, cringing at one moment and despairing in another. You are left to marvel, at the sheer brilliance, with which the arc of this character, has been portrayed on screen.

Let me warn you that the “Joker” is a difficult watch. It is entertaining, but this is a different kind of entertainment. It is dark and it will take you to a dark space, whether you like it or not! It also compels you to have conversations with your dark side. I felt this on multiple occasions, while watching the movie.

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Pic credit: dailymail.co.uk / Copyright: Warner Bros. Pictures

It’s the tale of a man, desperately trying to make ends meet, but fails miserably each time. He is constantly shunned, abused, unappreciated and discriminated, which leads to his gradual disintegration, thereby transforming him to an unrecognizable self. During this transition the film becomes dark and violent and some of the scenes can be disturbing to watch.

Some critiques have said that, the writers might have unconsciously justified the violence, given the nature of the screenplay. But this argument did not resonate with me. In my opinion, the movie only depicts the violence and does not advocate it. The process of disintegration of Arthur’s original character is so organic, that you cannot help but sympathize with him, while not fully agreeing with his violent methods, to relieve himself from the misery.

Also, the movie does not end, showing Arthur happy. It shows him relieved, but that relief is momentary. He is slipping into an abyss, sometimes even without his approval. You as the audience know that he needs help, but you also know that there is nobody who can help him. It’s this apathy and hopelessness which makes the character relatable.

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Pic credit: variety.com / Copyright: Warner Bros. Pictures

But I do partially agree, that different people could perceive, what is unfolding on screen, differently. For instance, after the scene (without giving away too much), where Arthur gruesomely murders his ex-boss, and then cracks a joke, discomforting his colleague (an innocent onlooker) even further : some in the audience were laughing, some were shocked, and some were secretly sobbing. Need I say, anything more to clarify my point. Your actions and reactions, just like the Joker’s, is dependent on what you are feeding within you. The director is just telling you a story – it’s up to you, what you take away from it.

Technical aspects:

Technically, the movie is brilliant. Especially, the cinematography by Lawrence Sher was noteworthy for me. The colours are mostly dark and dull, perfectly in sync with the mood of the film. The use of fog (outdoors) and smoke (indoors) was also interesting to create the gloom.

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Pic credit: denofgeek.com / Copyright: Warner Bros. Pictures

The production design by Mark Friedberg complements the cinematography brilliantly by showing Gotham city, filthy, saturated and in constant turmoil.

The writing by Todd Phillips and Scott Silver is near perfect, because it manages to show the complete journey of Arthur’s character and yet keeps you engaged till the very end, without falling into the trappings of a regular commercial movie.

The only criticism could be, that some scenes in the movie were inspired from Scorsese’s Taxi Driver (1976) and King of Comedy (1983). Since, I have watched both these cult classics, I cannot deny the fact that there are some references, but these are clearly a tribute by the director to the genius of Scorsese, as he himself has pointed out in some of the interviews, prior to the release of the film. Moreover, art will always have its inspirations.

For me, this movie was highly dependent on two things – the vision of the director and the execution by the actor because it is carried single-handedly by its protagonist from start to finish. When, I was watching the movie, I couldn’t help but imagine the kind of conversations, the actor and director would have had between takes. I am sure there were a lot of improvisations, which would have eventually led, to making the scenes so mesmerizing.

The Acting:

As said earlier, this movie rests purely on the shoulders of Joaquin Phoenix. What do I say about his performance?

If ever there was a masterclass in acting. This is it!

I mean, this was as close to perfection that an actor could get to. Every tissue, bone, sinew and muscle on this man’s body, was complementing the expression on his face, the pain in his eyes and thought in his mind.

The transition from being depressed, defeated and lost to being cruel, vengeful and insane has been portrayed so beautifully, that never did anything feel rushed or overdone. It was just right.

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Pic credit: nbc15.com / Copyright: Warner Bros. Pictures

To quote an example to illustrate this point – it was fascinating to watch, how Phoenix gradually created the Joker’s infamous laugh over the course of the movie. Although, the backstory to the laugh is a medical condition, it begins as a cough, which turns to a smirk, then into a chuckle and finally into the signature evil laugh in the end.

Joaquin, you hit the ball out of the park with this one! This performance will be remembered for years to come.

However, any comparison to Ledger’s performance is not justified, because both movies belong to completely different genres. What is common though, is that both actors managed to own this character and offer something new to it.