by whatsonsidsmind

The Half-Tailed Alien – Part 1

Written by: Siddhartha Krishnan | 3 Min Read

I was convinced that Joshua was an alien dog. From a few months into having him until the day he died, I was sure of it. I even called him that. Before bedtime, I’d often tell my son a story about how a spaceship dropped this odd creature on our planet, and we were the crazy ones who picked him up. Joshua was my ET dog.

But there was something else that made him special—his half tail.

***

We met the “alien dog” at the pet market in Shivajinagar, Bangalore. Puppies were on display in huge baskets, cramped together like soft toys. Back then, our understanding of animal cruelty was still immature. My wife and I were like naive kids, wandering through a candy store, overwhelmed by all the choices. The market was a sensory overload, with cute eyes staring at us from every shop. Each puppy seemed to be desperately looking for a home.

In the midst of it all, we noticed a small cage beside one of the shops. Inside was a little puppy with unforgettable marble-like eyes. When I put my finger through the railing, he eagerly nibbled on it as if it were a treat. He was desperate to get out.

I asked the shopkeeper to take him out of the cage. The moment he was free, he ran all over the place. The other puppies made space for him, wanting nothing to do with his energy. “Which breed?” I asked. “Labrador,” the shopkeeper replied. The puppy had half a tail, and that was impossible to miss. “Why does he have half a tail?” I inquired. “It was an accident. A door slammed on it,” the shopkeeper said. The explanation seemed absurd, but my wife and I exchanged knowing glances. Whether the story was true or not, one thing was clear—this little guy would have a tough time finding a home with that half tail.

We kept looking at each other, silently negotiating. He was the cutest, most spirited dog we had seen. And he had chosen us. Unlike the others, who were all vying for attention, he never left our side. He’d run around, but always came back to settle at our feet. Finally, my wife broke the silence, “Can we take him home?” I was relieved to hear it.

We took him home in a small cardboard box filled with cotton. I remember the date clearly—August 3, 2008, the first Sunday of August. Friendship Day.

Your first dog is always special because nothing prepares you for what is to come. It’s like having your first child. We were on that road of unexpected surprises and this rascal would teach us how to be a pet parent and mad dog lovers.

To be continued …

About the author

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

All rights reserved by http://www.whatsonsidsmind.com

by whatsonsidsmind

The Zone of Interest – Movie Review | A Unique Perspective on the Holocaust Horror

Written by: Siddhartha Krishnan | 4 Min Read

(Trailer – The Zone of Interest)

I had been eagerly awaiting the release of The Zone of Interest on OTT, since it had a limited theatrical release in India. Now, it’s available on Amazon Prime Video. The film won the Best International Feature and Best Sound Design at the 2023 Oscars. It also won the Grand Prix at the Cannes Film Festival. Notably, the Indian film All We Imagine as Light, directed by Payal Kapadia, currently holds the same honor.

Jonathan Glazer’s The Zone of Interest is a German historical drama that delves into the lives of Auschwitz commandant Rudolf Höss and his wife, Hedwig. They reside in an opulent house right next to the Auschwitz concentration camp. Shot in a near-documentary style, the film’s camera serves as a silent observer.

The Höss family goes about their daily routines, basking in the comforts of their luxurious existence. The children swim and fish, while Hedwig spends her days gardening and maintaining their household with the help of several servants. Yet, next door, there is a relentless cacophony of shouting, gunshots, roaring furnaces, and arriving trains. Rudolf’s grim task is to oversee the extermination of thousands of Jews, a horrifying job he executes with chilling precision.

The film is a profound meditation on human depravity. It starkly portrays how easily we can desensitize ourselves, transforming into monstrous beings complicit in one of history’s greatest atrocities. The film forces us to confront the banality of evil and the chilling ease with which ordinary lives can coexist with unimaginable horror.

The Zone of Interest has been rightly hailed as a masterpiece for its minimalistic yet novel approach. It presents scenes that are strikingly unique in cinema. How do you depict violence without showing it? How do you convey depravity with a nonchalant, matter-of-fact demeanor? This film is a masterclass in both.

The aesthetics are strikingly contemporary, despite being a period piece. It feels like a window where the past and present gaze at each other, blurring the lines of time.

Please keep in mind that The Zone of Interest is not your typical Holocaust or World War II film. There isn’t a single scene of bloodshed, yet the film is profoundly grotesque. Its screenplay is unlike anything seen before in this genre. At just 1 hour and 45 minutes, it covers a lot of ground at its own deliberate pace, delivering its message with immense power.

The film is as hard-hitting as the classics on the subject. Steven Spielberg even called it the best Holocaust film since his own Schindler’s List (1993). Need I say more?

Verdict –
IMDb rating: 7.4/10
My rating: 4.5/5

*****

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Maharaja | Movie Review | A Non-Linear Thriller That Keeps You Guessing

Written by: Siddhartha Krishnan | 5 Min Read

The greatest strength of director Nithilan Swaminathan’s ‘Maharaja’ is its climax, closely followed by its intricate plot. The screenplay masterfully employs timelines to keep the suspense alive until the very end. If told in a linear fashion, the film would have lost much of its impact. By using a non-linear approach, the writer-director offers a masterclass in writing dark, psychological thrillers. However, the film does have its share of flaws that discerning viewers will easily notice.

Plot Overview:

The story unfolds in a complex weave of past and present. Maharaja, played by Vijay Sethupathi, a barber by profession, visits a police station to report a robbery. But what he claims to have lost leaves the police officers astounded.

He says that a gang of thieves raided his house, attacked him, and stole his dustbin which was of much value to him. The police are reluctant to take up the case because the stolen item is a seemingly worthless dustbin. However, they sense there is more to the story than meets the eye.

Its only much later in the film that we discover the value the dustbin had for the protagonist. Maharaja recounts a tragic accident where a truck driver lost control of his vehicle and crashed into the house where his wife and daughter were. His wife perished in the accident, but his daughter survived, saved by a metal dustbin that, as if by divine intervention, fell on her head and shielded her from the direct impact. Since then, Maharaja and his daughter have venerated the dustbin, calling it ‘Lakshmi’.

But things don’t add up for the police. They investigate and the revelations are dark to say the least.

Narrative Style:

The narrative often borders on silliness, employing humor that enhances the intrigue, maintaining an underlying sense of dread until the startling revelations unfold. The brilliance lies in delivering the unexpected and unbelievable. Events that seem like a series of happy coincidences are woven into the screenplay with such skill that they feel anything but.

The non-linear stitching of scenes heightens the impact, especially of the much-talked-about climax. By playing with time, the writer disorients the audience, much like “Parasite” did until the doorbell rang at the halfway point. This clever manipulation of past and present blurs the lines, making the audience lose track of time. The revelations deliver one shocking moment after another, making the film a clear winner in terms of sheer entertainment.

Performances:

In his 50th film, Vijay Sethupathi delivers a performance that showcases his exceptional range. The film plays to his strengths, allowing him to seamlessly embody humor, menace, and introspective silence. The supporting cast, including notable names like Abhirami, Mamta Mohandas, and Bharathiraja, have relatively minor roles. However, Natarajan Subramaniam as the corrupt Inspector Varadharajan, Aruldoss as Sub Inspector Perumalsamy, and Singampuli as the cunning Nallasivam deliver standout performances in their significant parts.

Anurag Kashyap, portraying Maharaja’s formidable foe Selvam, embodies a well-written, layered, and complex character. While his performance is largely nuanced, there are moments where a bit more restraint would have been beneficial. Additionally, his lip sync, especially at the beginning, occasionally made his dialogue seem like gibberish. Despite these minor flaws, the casting team has done an excellent job overall.

Technical Aspects:

The background score by Ajaneesh Loknath is a strong point of the film. It captures all the moods of the film, essential for the emotional roller coaster the story takes the audience on.

Conclusion:

It would have been easy for Maharaja to be just another psychological thriller. But writer-director Nithilan Swaminathan finds a way to be inventive with this revenge story. By playing with time, he keeps the audience on the edge of their seats. Despite its flaws the film’s many subplots tie up beautifully in the end, delivering an ending that lingers in the minds of audiences long after the credits have rolled.

My Verdict:

IMDb rating: 8.7/10

My rating: 4/5

‘Maharaja’ is streaming on Netflix.

*****

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his articles, essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

Kill: A Bloody, Genre-Defining Masterpiece that is Groundbreaking for Hindi Cinema

Written by: Siddhartha Krishnan | 6 Min Read

(Note: this piece contains links to the film’s trailer, its making and pre and post release interviews. Click on the blue fonts to view them. Trigger warning – some descriptions of extreme violence)

“Kill” premiered at the Toronto International Film Festival last September, where it was showcased in the ‘Midnight Madness’ section. It received positive reviews from critics worldwide, leading to Lionsgate acquiring the rights for its release in the US and UK—a rare big studio deal for an Indian production. However, the film’s most significant achievement came just days before its India release: the announcement that Chad Stahelski, director of the John Wick franchise, would produce its English remake. This is a big moment for the Hindi film industry, as “Kill” is the first of its kind for not just Hindi cinema but also Indian cinema as a whole.

Much of the conversation around the film before its release in India was centered around its genre. A thin line differentiates a genre film from a film genre. A genre film is one where the narrative is laser-focused on delivering what the genre promises. Anything else risks becoming like an Indian thali, offering a bit of everything. “Kill” is a genre film that promised a blood-soaked, gore-filled brawler mayhem—the kind of brutal action rarely seen in Hindi cinema. Despite this, producers Karan Johar and Guneet Monga were optimistic about getting a theatrical release in India. The challenge was not just to get past the censor board but to do so with minimal or no cuts. Surprisingly, it passed without cuts! On July 5th, “Kill” released in India.

But did it deliver on its promise to its niche audience?

Films like “Kill” are characterized by their raw and violent action that is realistic in nature, which is hard to execute convincingly. This is where the technical team comes to play: production design, sound design, action choreography, prosthetics, and, of course, writing and direction. For an action film to rise above the rest, every minute detail must be meticulously crafted. Here, “Kill” breaks the conventions of Hindi cinema.

In ten minutes, director Nikhil Nagesh Bhat introduces the characters, the world, and sets up the plot. The storyline is simple, as is often the case with genre films—Amrit and Tulika are in love. Tulika’s father, a powerful businessman, arranges her engagement against her will. Thereafter they board a train to New Delhi. Amrit and his friend Viresh also board the train to stop the marriage. But a gang of forty knife-wielding dacoits jump onto the train to loot the innocent passengers. They don’t hesitate to kill anyone who resists. What the goons don’t know is that Amrit and Viresh are army commandos. What follows is an adrenaline-filled, high-octane, and brutal ride guaranteed to keep you on the edge of your seat. Imagine John Wick, Raid, and Train to Busan; but this is quintessentially an Indian film, which itself lends it novelty.

The production design creates a dark, immersive world that feels both familiar and terrifyingly new. Every Indian knows about our trains, so creating an authentic train set that accommodates action sequences from all angles was crucial. Production designer Mayur Sharma makes us feel the claustrophobia of an all-out brawl in small spaces, leaving us wondering how certain scenes were pulled off.

The sound design of the film is stellar, amplifying every punch, stab, kick, and gunshot, making the audience flinch and cringe at the crack of bones or the tear of flesh. The prosthetics team deserves special mention for their attention to detail. Gore in slaughter films can be shown through CGI or prosthetics, but true fans know that prosthetics done right make the scenes impactful. The way blood oozes from a body, its viscosity, and the amount are crucial to the narrative when a person is stabbed, cut, shot, or hit with a blunt object. Making such films isn’t easy because the gore isn’t just part of the film—it is the film.

But it’s not just the technical prowess that sets “Kill” apart. The writing and direction are sharp, driving the narrative forward with relentless pace. The film doesn’t shy away from brutality, instead embracing it to tell a story that is both harrowing and exhilarating. However, the writing isn’t perfect; the dialogues sometimes come across as weak, and some scenes, especially between Tulika and Amrit, feel unnecessary. There is also an emotional distance with the protagonist, Amrit (Lakshya Lalwani), sometimes accentuated by a less convincing background score. On the other hand, the villain, Fani (Raghav Jugal), is a better written character. Despite the fast pace, the film truly takes off in the second half, which might be a deliberate choice by the director, who also wrote the film. This approach seems intended to let things simmer and prepare the audience for the carnage of the second half.

Clearly, the action choreography is the star of the film, around which all other facets revolve. The action had to be raw, brutal, and most importantly, real. Pre-release interviews made it clear that every detail was meticulously planned, including the gore, a hallmark of great action films. The way action choreographers Se-Yeong Oh and Parvez Shaikh, along with cinematographer Rafey Mehmood, have executed this is essential viewing. Editor Shivkumar V Panicker also deserves a mention. The editing is crisp and thankfully the overused trick of long shots is omitted.

Most of the heavy lifting in the action sequences rested on the protagonist’s shoulders, Lakshya as Amrit, who trained for almost eight months for the role. His performance in the action scenes is exemplary, and his screen presence and baritone voice help him portray the character effectively.

The casting as a whole is spot on. Raghav as Fani brings the menace and unpredictability needed for the character. The second half, which focuses on the hunters becoming the hunted, required the goons to show vulnerability through confusion. This part of the film is particularly interesting from a writing standpoint. Additionally, the forty dacoits, despite their limited screen time, were not just pulled off the streets; they were all actors who convincingly fought with the protagonist. The casting team deserves praise for maintaining high standards and not succumbing to mediocrity.

“Kill” doesn’t pander to all audiences. It’s not meant for the faint-hearted or those expecting a typical masala action film with a bit of everything. It is hyper-focused on delivering exactly what it promises; everything else is momentary or serves to drive the narrative forward. While the film falters sometimes in these moments, it delivers its core promise with absolute honesty. This train journey is a pulsating, thrilling and shocking ride.

“Kill” cannot be advertised like other Indian action films. During promotions, the cast used the tagline, “Himmat hai toh hall mein aao” (If you have the courage, come to the theater). I suggest you don’t, if you’re easily affected by violent scenes. But for cinephiles who love this genre, this is the film to watch this weekend. It’s a bloody, genre-defining masterpiece that must be experienced in a theatre. It deserves a good word of mouth.

My Verdict –

IMDb rating – 7.9/10

My rating – 4/5

*****************

About the author –

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 blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book and movie reviews.

by whatsonsidsmind

Revisiting the Golden Age of Malayalam Cinema in the Era of its Renaissance

Sreenivasan (left) in Vadakkunokkiyantram (1989) and Fahadh Faasil (right) in Maheshinte Prathikaram (2016)

Written by Siddhartha Krishnan | 7 Min Read

The love and appreciation showered upon Malayalam films worldwide is unprecedented. It’s mind-boggling to see cinephiles in distant lands dissecting and reviewing our cinema with fervor. But as an ardent fan and a Malayalee who grew up in the 90s watching the golden age of our films unfold, I am worried. Let me tell you why.

Malayalam cinema hasn’t always been like this. Before the 80s, mainstream Malayalam films often bordered on being obscene, focusing more on titillation than substance. In the late 90s and early 2000s, our industry tried to mimic its Southern counterparts, churning out cheap imitations that disappointed audiences. This was a dark period marked by aging superstars and seasoned filmmakers losing their touch.

The renaissance was ushered in by a new wave of filmmakers and actors influenced by world cinema close to 2010. This evolution continues today. Thanks to OTT platforms, the world has discovered our films. This year, Malayalam cinema has shattered glass ceilings, achieving global box office success and critical acclaim. It feels like our time has finally come.

Yet, this success makes me anxious. As someone raised on the classics of the 80s and 90s, I hope we don’t lose the essence that made our cinema special.

So what makes Malayalam cinema different?

Malayalam cinema stands out due to its authenticity, grounded storytelling, and commitment to addressing relevant social issues. Unlike formulaic approaches, it remains deeply rooted in its cultural context. This success is driven by exceptional writers, talented technicians, visionary directors, and naturally gifted actors who bring these stories to life with aplomb.

This authenticity and cultural resonance are evident in both the films of the 80s and 90s and those of today. The golden era, however, distinguished itself with a few unique traits.

Directors, constrained by tight budgets, often shot in real village locations. This choice not only saved costs but also forged a deeper connection between the audience and the characters. While parallel cinema in Kerala addressed serious issues, much like in other states, Malayalam commercial cinema integrated these themes with a satirical edge. This blend gave rise to some of the finest comedy films, introducing us to beloved characters and situational humor. It was integral to the narrative, and not just there to provide relief between serious scenes.

The presence of naturally gifted actors made the storytelling compelling, while dialogues, often improvised, mirrored the everyday speech of the common man, enhancing the films’ realism and relatability. The screenplay was free-flowing, natural, and not sanctimonious, despite taking on social issues. If Malgudi days and Wagle ki Duniya were to have a child it would look like Malayalam cinema, but with its unique characteristics.

Here are five classics that perfectly balance realism, humor, and social commentary:

Vadakkunokkiyantram (1989) –

Actors Sreenivasan and Parvathy in a scene from Vadakkunokkiyantram

This black comedy explores the life of an insecure man plagued by doubts about his more attractive wife. Tormented by his average looks, he becomes suspicious of any man who interacts with her. Starring Sreenivasan and Parvathy, and written and directed by Sreenivasan himself, this film is a quintessential classic in the genre. (available on Amazon Prime)

Varavelpu (1989) –

A scene from Varavelpu

Directed by Sathyan Anthikad and written by Sreenivasan, this film follows Murali, a simpleton who returns from the Gulf after seven arduous years. Hoping to start a bus service in his hometown with his savings, he faces opposition from relatives eyeing his money and discovers that doing business locally is fraught with challenges. Featuring an outstanding performance by Mohanlal and a superb ensemble cast, this film initially struggled at the box office but has since achieved cult status. (available on Amazon Prime)

Nadodikkattu (1987) –

Mohanlal and Sreenivasan in Nadodikkattu

After being fired from their jobs, Dasan and Vijayan decide to pursue their dreams in Dubai. They are put on a boat by a man who assures them that by morning they will be on the shores of Dubai. However, he turns out to be a trickster and they land in Chennai instead, leading to a series of comedic misadventures. Directed by Sathyan Anthikad, this satire transformed Dasan (Mohanlal) and Vijayan (Sreenivasan) into two of the most beloved characters in Malayalam cinema. (available on YouTube)

Mithunam (1993) –

A scene from Mithunam

Sethu dreams of starting a biscuit factory but is thwarted at every turn by corrupt bureaucracy. His troubles don’t end there; he must also navigate the chaos of his dysfunctional family and a complaining wife who feels neglected. Directed by Priyadarshan, the film weaves together a series of comedic events, highlighting the struggles in both Sethu’s personal and professional life. (available on Disney+Hotstar)

Sandesam (1991) –

A scene from Sandesam

This political satire follows a retired engine driver who returns home hoping for a peaceful life with his family. However, he discovers that his two eldest sons, both lawyers, have abandoned their professions to become party workers for rival political factions. The brothers, unable to see eye to eye, are constantly scheming against each other. While the film is a laugh riot for most of its runtime, it turns grim towards the end, delivering a poignant message about political polarization and its potential to destroy a family. Directed by Sathyan Anthikad, this film is my favorite on the list. (available on Disney+Hotstar for free)

The aim of the above list is not to boast about filmography or create a ‘favorite’ films list, but to highlight a key point: Malayalam filmmakers have masterfully addressed a variety of socially relevant topics, seamlessly blending humor into their storytelling while preserving realism and simplicity.

Even in genres like psychological and investigative thrillers, horror, tragedy, courtroom dramas, and socio-political dramas, the need for authentic, real, and simple storytelling remains paramount. Here are five classics from the more serious genres:

Kireedam (1989) –

Mohanlal in Kireedam

Sethumadhavan aspires to fulfill his father’s dream of becoming a sincere police officer. However, a fateful scuffle with a criminal to save his father’s life thrusts him into the criminal world against his will. Overwhelmed by injustice and rage, he descends into madness, and ultimately gets abandoned by his family. Directed by Sibi Malayil, this film won Mohanlal a national award and was later remade in six languages, including Hindi, Tamil, Telugu, Kannada, and Bengali. (available on Disney+Hotstar for free)

Dasharatham (1989) –

Scene from Dasharatham

Rajiv, a man born with a silver spoon, is an alcoholic who wastes his life in debauchery, with no aim and no one to call his own. When a friend visits with his family, Rajiv forms an attachment to one of the children, sparking a desire to have his own. Unwilling to marry, he turns to surrogacy. He finds Chandradas and Annie, a couple in need of money. Annie agrees to be the surrogate, but as she becomes attached to the unborn child, she struggles with the idea of parting with it. Considered one of the best films by writer-director duo Lohithadas and Sibi Malayil, this tragedy delves into profound philosophical themes. (available on YouTube)

Oru CBI Diary Kurippu (1988) –

A scene from Oru CBI Diary Kurippu

Directed by K. Madhu, this investigative thriller revolves around the suspicious suicide of a rich businessman’s daughter-in-law, likely a murder. With numerous suspects within the businessman’s family, and the businessman using his influence to suppress the truth, the case becomes complex. The victim’s family protests, leading to the CBI taking over the investigation. Mammootty plays the meticulous investigating officer, Sethurama Iyer, who unravels the case amidst numerous hurdles. The film showcases the intricacies of police work, the nexus between the wealthy and the establishment, and the process of forensic investigations. It spawned five sequels and was remade in Telugu and Hindi. (available on Disney+Hotstar for free)

Bharatham (1991) –

A scene from Bharatham

Another collaboration between Sibi Malayil and Lohithadas, this film explores the strained relationship between two brothers, Raman and Gopi, who hail from a musical heritage. Gopi, the elder, and more renowned brother, succumbs to alcoholism, losing his acclaim. Raman reluctantly steps up to uphold the family’s musical legacy, causing tension as Gopi resents his deteriorating condition and refuses to pass the baton. This musical family drama features stellar Carnatic classical and semi-classical music, marking an iconic collaboration between music director Raveendran and singer KJ Yesudas. The film’s songs, and the performances of lead actors Mohanlal (Kalloor Gopi) and Nedumudi Venu (Kalloor Raman), are timeless. (available on Disney+Hotstar for free)

Thaniyavartanam (1987) –

Mammootty in Thaniyavartanam

This film revolves around Balan, a government school drawing teacher, and his family. He belongs to an upper-caste joint family believed to be cursed by a goddess. A male from each generation is destined to become mentally ill and be chained in a room. This curse has left the family isolated and impoverished, trapped by their own beliefs. Despite Balan’s sanity, he too falls prey to this cycle. The film, a hard-hitting social drama blending elements of horror, powerfully critiques how we become slaves to our beliefs. It is a powerful social commentary on how even the sanest can be driven into insanity by a mob. It also questions the absurdity of what we believe is normal. (available on Amazon Prime)

So what is that we are afraid of losing from Malayalam cinema?

I introduced my wife to Malayalam cinema a year into our marriage, which was 13 years ago. OTT platforms were still an emerging concept in India then. I had managed to find a decent copy of Vadakkunokkiyantram with English subtitles, believing it would be the perfect introduction given her taste in films. However, I was wary because the cinematic language of Malayalam films is quite distinct from what people in the Hindi heartland are accustomed to.

To my surprise, she loved it and raved about it to her friends and relatives for days. Over the years, she watched many more Malayalam films, often on her own, as our tastes in movies are diametrically opposite. Now, she even recommends films to me. Recently, two films she holds dear are Home (2021) and Njan Prakashan (2018).

Last weekend, in preparation for this essay, I decided to ask her what she thought made Malayalam cinema different. Her reply left me smiling. She said that in Malayalam cinema, the story is paramount. Every other aspect of filmmaking seamlessly blends with the story, ensuring nothing stands out unnecessarily. Even the performances serve the story. In essence, the film is entirely the director’s vision, not dominated by actors or technicians.

This is a characteristic that Malayalam filmmakers should strive to preserve while embarking on uncharted territories. Films like Maheshinte Prathikaram (2016), Kumbalangi Nights (2019) and Ee.Ma.Yau (2018) from this era restore faith that there is a sincere effort being made to keep the soul of our films alive.

Undoubtedly, the inventiveness and technical prowess of the new generation of filmmakers and actors make us proud, but at the same they must not forget what made our cinema different at the first place. Arundhati Roy’s quote comes to mind in this regard: “To never simplify what is complicated or complicate what is simple.”

To conclude –

Our cinema is an integral part of our popular culture. For us the story is above all else. Its characters weren’t demi-gods or demi-goddesses; they were people like us. And yet they managed to entertain us. While we might have felt a distance from the stars who played those characters, we never felt distant from the characters themselves. They weren’t larger than life; they were people like us, living in houses like ours, eating, speaking, and leading lives like ours. This simplicity helped our films stay grounded and connect with everyone. I hope this essence is not lost in the mist of box office glory.

About the author –

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 blog (www.whatsonsidsmind.com), he shares his essays, travelogues, book and film reviews.

by whatsonsidsmind

Godzilla Minus One | Netflix | Movie Review

Written by: Siddhartha Krishnan | 5 Min Read

Kaiju films are Japan’s gift to world cinema, having become a significant part of their popular culture. These films, a subgenre of science fiction, are characterized by giant monsters wreaking havoc on cities and human settlements. Iconic creatures like King Kong and Godzilla emerged from this genre. Ishiro Honda and Eiji Tsuburaya’s 1954 film Godzilla is widely regarded as the first Kaiju film. The monsters in these films often carry deep metaphors; ‘Godzilla,’ for instance, symbolizes the devastation wrought by atomic bombs. This mutant creature, born from the sea is impervious to conventional weaponry.

Godzilla Minus One explores the origin story of this mythical creature while also delving deeply into human emotions and experiences. This film may very well be the best Godzilla film yet, blending the grandeur of the Kaiju genre with a poignant human narrative.

The movie begins in 1945, near the end of World War II, following Kamikaze pilot Shikishima, stationed on Odo Island. The garrison is attacked by Godzilla, a dinosaur-like creature. Shikishima has a chance to shoot the monster but capitulates under pressure, leading to the deaths of everyone in the garrison except one.

Upon returning to Tokyo, Shikishima discovers that his parents were killed in the war. Tormented by survivor’s guilt and struggling to find meaning in life, he meets Noriko, a young woman who has adopted an orphaned baby. Compelled to support the helpless pair, they form an unconventional family. Shikishima takes a job as a mine sweeper, disposing of naval mines from World War II. Over the next two years, the three begin rebuilding their lives.

However, a nuclear test by the Americans mutates Godzilla, making him stronger and bigger. As the creature threatens to wreak havoc upon the city, the government’s inaction forces the citizens and ex-naval crew members to unite and devise a plan to destroy the monster. Shikishima finds himself at the heart of the action.

Earlier this year, I watched Godzilla x Kong: The New Empire with my family in a packed theater. The American interpretations of Kaiju films are undeniably thrilling, delivering all the excitement needed to feel you got your money’s worth. However, the Japanese have an unparalleled eye for detail that is hard to surpass. As the creators of this legendary character, they provide a context beyond the thrills and visual effects.

Takashi Yamazaki’s film brings Godzilla back to its roots, helping the audience understand the deeper meaning behind the story. I watched the film on Netflix a few days back with my 9-year-old. Initially, I was worried he might not grasp everything being said, but he did. Throughout the film, we had hushed conversations about monsters, demons, and other gargantuan creatures from folklore. The director, despite the subtext, kept the storytelling straightforward and avoided making it overly somber, making it perfect for family viewing.

I was just miffed that the film didn’t get a theatrical release in India.

Seventy years after its creation, a Japanese Godzilla film won the Oscar for Best VFX. Both American and Japanese filmmakers have explored the concept in every possible way, some adding subtexts and others focusing unabashedly on thrills. However, cinephiles around the world believe this could be the best Godzilla movie to date. A significant reason for this consensus is its perfect balance of thrilling action with a deeply rooted human story. Such a connection with characters and narrative is rare in monster flicks.

At the Oscars nominees’ luncheon, director Takashi Yamazaki bumped into Steven Spielberg. Later, Yamazaki posted on Twitter about the encounter, sharing that Spielberg complimented him by saying he watched the movie three times and loved the characters, a praise that nearly brought Yamazaki to tears. After all, this was coming from the creator of Jurassic Park and Jaws.

The director’s background as a VFX supervisor significantly contributed to the success of crafting a convincing monster flick on a modest $15 million budget. To put this into perspective, Godzilla x Kong: New Empire had a budget of $150 million, while the other Oscar nominees this year ranged from $80 million (The Creator) to $290 million (Mission: Impossible – Dead Reckoning Part One).

One theory for the film’s impressive VFX is its return to the 90s approach: prioritizing practical effects and using green screens sparingly. This method allows for a stronger focus on other storytelling aspects, such as production design and sound design. Additionally, the film’s meticulous attention to detail ensures authenticity and realism, enhancing the overall impact.

In most monster flicks, there’s a clear separation between the monster world and the human world. Typically, humans stumble upon or get trapped in the monster’s realm, providing a sense of escapism. In Godzilla Minus One, this separation is absent. The two worlds blend seamlessly, and the narrative is rich with subtext, ultimately telling a deeply human story.

For me, Godzilla Minus One is all about getting back to the basics of cinema. It rekindles the magic and wonder of filmmaking, making audiences marvel at how a shot was crafted. It’s easily one of the best monster films I’ve ever watched and truly deserved a theatrical release in India.

Verdict:

IMDb rating: 7.8/10

Rotten Tomatoes: 98% (audience score)

My Rating – 4/5

About the author –

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 blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Baby Reindeer | Netflix | Short Review

Written by Siddhartha Krishnan | 2 Min Read

In the world of ‘Baby Reindeer,’ innocence collides with harsh realities, and freedom is a fleeting illusion. This gripping Netflix series delves deep into the journey of a naive adventurer, whose belief in the goodness of humanity is shattered by the cruel truths of abuse and manipulation. If I could rename the TV series, I would call it, ‘A History of Abuse,’ as it transcends mere entertainment, offering a poignant, complex, and layered narrative.

Prepare for a harrowing yet compelling watch as escapism and deceit become the only refuge in a world where balance is a rare luxury. ‘Baby Reindeer’ unveils a dark yet thought-provoking exploration, initially masquerading as a comedic thriller centered around a stalker and her prey, but ultimately unraveling the intricate web of human emotions and vulnerabilities. A probe into the human psyche.

This evocative and striking tale challenges perceptions, tugs at heartstrings, and leaves a lasting impact, showcasing the power of storytelling at its finest.

This series is not for ones who get easily triggered, not clearly for the faint-hearted, but if you are one with an open mind, it can be a cathartic experience.

IMDb rating – 7.9/10
Rotten tomatoes score – 98%
My rating – 4.5/5

 

About the author –

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 blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Aadujeevitham – Movie Review | Prithviraj delivers a career best performance in a Blessy film that doesn’t emotionally connect fully

Written by: Siddhartha Krishnan | 3-Min Read

While I am aware this might disappoint some Malayalees, I have to concede that I struggled to embrace ‘Aadujeevitham’. Despite the promising source material, I felt it lacked the captivating essence needed for compelling cinema. To begin with, converting Benyamin’s vivid prose into a motion picture seemed like a daunting task, and though I observed the effort, ambition, and grand scale, I couldn’t immerse myself in the hero’s journey. Sympathy for the protagonist was present, yet there remained a constant emotional distance. It felt as though the director got lost in his own artistry.

Blessy, is undoubtedly a talented filmmaker, whose filmography only a few can boast of. He has given the Malayalee cinephile films like ‘Thanmatra’, ‘Brahmaram’ and ‘Kaazhcha’, and we Malayalees eagerly wait for the next Blessy release. However, ‘Aadujeevitham’, fails to create the impact that those films did.

However, the dedication poured into crafting the film is undeniable. From the authentic visuals, costumes, to the locations, every aspect rings true. The actors, led by the excellent Prithviraj Sukumaran, deliver commendable performances, with Sukumaran fully embodying his character Najeeb. Unlike some of his other roles where the star overshadows the actor, here he is Najeeb through and through, a transformation that is strikingly painful to witness.

To be fair, the director does offer a few cinematic moments that Indian audiences may not have experienced before, moments that are cathartic and likely to linger in viewers’ minds long after the credits roll. It’s clearly a film made for the theatre. However, not everything comes together to create the impact it should. Some scenes tend to be overly melodramatic. Blessy, being an old-school filmmaker, which isn’t necessarily a flaw, but in a cinematic landscape shaped by the advent of OTT platforms and exposure to world cinema, the language of our films has evolved. This evolution cannot be ignored by filmmakers.

Consider ‘Dunki’ in this context, where a celebrated filmmaker like Rajkumar Hirani stuck to his signature style, resulting in a film that didn’t resonate as strongly with today’s audience as expected. Conversely, a veteran filmmaker like Martin Scorcese chooses to continuously evolve, staying relevant to the times rather than sticking to a particular style.

That being said, it would be unfair to label ‘Aadujeevitham’ as a bad film. The effort put into its making is evident on screen, perhaps too much so, as it sometimes feels disjointed from the storytelling. This, in my view, creates an emotional distance between the protagonist and the audience, despite the lead actor’s stellar performance.

IMDb rating – 9/10
My rating – 3/5

About the author –

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 blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Poacher – Review | A Gripping Police Procedural that is Helmed by a Diverse Cast

Written by Siddhartha Krishnan | 5 Min Read

Richie Mehta, director of Emmy award-winning investigative drama series Delhi Crime returns with another police procedural. But this time he shifts the gaze from a city to a jungle to unravel the mysteries behind India’s biggest poaching case. Poacher is based on the real-life incidents of Operation Shikhar that took place in the Malayattoor forest division in Kerala’s Ernakulam district between 2015 to 2017. The investigation unearthed the nexus between elephant poachers, government officials, carvers, and ivory art dealers leading to 72 arrests across India.

In this TV series too, Richie Mehta retains some of the qualities that characterized his previous venture from a technical standpoint: use of hand-held cameras, tight close-up shots, saturated colors to evoke tension, and a non-linear narrative that adds to the mystery and isn’t too difficult to grasp.

But there are certain creative choices made in Poacher that make it stand out among other police procedurals:

The use of animals in the storytelling –

Among recent films, director Robert Eggers has used animals in interesting ways. In The Witch the simple goat turns out to be a vessel for a demonic being that helps the protagonist, Thomasin, find her way to the world of witches. Similarly, a seagull in The Lighthouse is said to house the spirits of dead sailors.

In Poacher the animals behave the way you would see on a safari. Even if we don’t notice them, they are always watching us. They don’t come with human-like qualities. They are just bemused onlookers. In a way asking the homo sapien: if you’ve put the fire in the jungle, whose job is it to douse it? This I felt was a stroke of genius by the writers because they saved the screenplay from being verbose, and yet managed to evoke the required emotion.

Multi-lingual dialogues to lend authenticity –

Poacher is truly a multi-lingual film. I say this because the characters speak in the language, they are supposed to in the situation they are in. They switch between Malayalam, Hindi, and English often. There are also scenes where Dibyendu Bhattacharya’s character, ‘Neel’ speaks to his family in Bengali.

The switching between languages, sometimes even within a scene, was seamless because the characters were doing so out of need and not to satisfy the audience. It also helped them stay in character and made the storytelling more believable.

Inventive camerawork:

For most of its run-time the camera is right on the faces of the actors in Poacher. To enhance the tension of the tight close-ups, cinematographer, Johan Heurlin Aidt, has chosen to go with saturated colors and a single light in the background. This is a technique that was used by him in Delhi Crime (Season 1) as well to evoke claustrophobia.

However, it was the contrast between the way the animals, the jungle, and nature were shot vis-à-vis the human characters that did the trick. Wide angles as opposed to close-ups. The intention was to show with whom the accountability lies. This aspect of the cinematography is easy to miss because it is understated. But is effective.

A diverse cast –

Poacher boasts of a diverse cast of skilled actors coming from different parts of the country, many of whom could speak more than one language. The casting team deserves all the credit for managing to arrive at such a perfect ensemble. The side actors too were terrific in their parts even if they had just a scene or two.

The three lead actors Nimisha Sajayan as Mala Jogi, Roshan Mathew as Alan Joseph, and Dibyendu Bhattacharya as Neel Banerjee, were on top of their game, feeding off each other to give the viewers several memorable moments. Given that the camera was right on their faces for most of the show, there was very little room to falter. Only seasoned actors of their caliber could have pulled off the scenes with such confidence.

Poacher is one of those shows, whose faults can be forgiven because it is so well-intentioned. It has the sparse quality of showing systemic problems as is, without trying to pin the blame on a group of people as that would have amounted to intellectual laziness. In a real-life case of this scale, the villains had to be many. Furthermore, it also shows the audience the mirror, and asks, if we too are complicit in the crime.

Poacher diverts from its chosen tone briefly toward the end when it chooses to be a bit didactic. Some may say it was warranted to send the message across while others may contend that the makers should have stuck to more show than tell. But this does not take away what is good in this TV series.

My Verdict –

Among the current lot of police procedurals and investigative dramas available on OTT, Poacher is refreshing in its approach. It is a gripping police procedural that is technically brilliant and is helmed by a diverse cast that has delivered terrific performances. You can watch the show on Amazon Prime Video.

IMDB rating – 7.7/10

My Rating – 4/5

About the author –

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 blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Bramayugam – Movie Review | Reinventing the Chamber Drama to Tell a Chilling Tale of Greed

Pic description – Bramayugam poster

Written by Siddhartha Krishnan | 5 Min Read

‘Bramayugam’ begins somewhere in 17th century Malabar, when a lower caste singer named Thevan (played by Arjun Ashokan) runs away from the King’s court in fear of slavery, only to lose his way in the forest and stumble upon a dilapidated mansion, that has only two residents. Its owner, Kodumon Potti (played by a menacing Mammootty), and his cook (played by Sidharth Bharathan). Potti has a towering presence and an ominous, booming voice. He is a deceptive fox who without hesitation accepts Thevan as a houseguest despite knowing that he comes from the Paanan community. It takes a while for Thevan to realize that the Lord of the Manor, is much more than what he thinks he is, and that the mansion is a labyrinth whose walls have been hiding a secret for many many years.

In a scene, Kodumon Potti explains Thevan’s predicament. He says that inside the Mana, Thevan is stuck in Bramayugam or the Age of Madness, the era within Kaliyugam where God does not exist. He is trapped in an endless loop where nights are longer than days. Where the rain will last days, sometimes months, and sometimes years. Once inside the hell, there is no escape.

Pic description – Bramayugam poster

In the words of John Carpenter, “It [horror genre] never dies. It just keeps getting re­invented and it always will. Horror is a universal language; we’re all afraid. We’re born afraid, we’re all afraid of things: death, disfigurement, loss of a loved one. Everything that I’m afraid of, you’re afraid of, and vice versa.” The legendary American filmmaker touches upon two key aspects of the genre here: the universality of it and the need to reinvent as filmmakers. Reinvention is important because, in terms of novelty, there is hardly anything left to do.

Quoting John Carpenter again, “There are just two basic stories in horror, two simple ones – evil is outside and evil is in here (pointing to his heart)”.

Director, Rahul Sadasivan’s previous film ‘Bhoothakaalam’ in my opinion was one of the finest Malayalam films of 2022. It was a horror/psychological thriller, wherein a mother and son find themselves trapped in a house that has a history of paranormal incidents. Nothing new? Well, the reinvention was that the demons were not just outside but also inside. The director crafts a horror film using mental health as a theme, backed by an excellent technical team and stellar performances.

Pic description – Bhoothakaalam Sony Liv poster

From the first scene of ‘Bramayugam’, the director’s motive is amply clear; he wants the audience to immerse themselves in the world he has created. Once Thevan crosses the river and enters the manor, the place becomes a character, much like the Overlook Hotel in ‘The Shining’. Production designer, Jothish Shankar, converts the vision of the script to reality, creating a sprawling mansion that has been reduced to a decrepit and secretive structure. It felt like the overgrown bushes of the unkempt courtyard, the dust-laden floors of the forgotten rooms, and their crumbling walls and roofs, all had stories to tell.

Another key feature of the storytelling is the sound design. I was particularly thrilled by the use of the elements, especially rain. The music by Christo Xavier is mellow when it has to be and packs a punch when needed. Again, much like other aspects of the making, the music too, is minimalistic and effective.

Pic description – A scene from Bramayugam

It’s best to call ‘Bramayugam’ a horror/chamber drama that uses elements of fantasy and folklore. Notably, the three central characters take up over 90% of the screen time. Thus, a lot is unraveled through dialogue, but much of it is implied rather than told. Hence, as an audience, it is important to pay attention despite the often slow pace of the film. It takes a while to understand that the pace is deliberate. Therefore, the film demands a lot from its actors to make the scenes engaging.

Arjun Ashokan as Thevan is a man who wants to escape the hellish nightmare but is too scared to commit a wrong in an attempt to do so. He wants to speak truth to power but the adversary is much bigger than he had imagined to be. Sidharth Bharathan as the nameless cook, who has been in the manor since time immemorial, is a man aware of the game. He is party to it, surrendered to his fate in many ways, yet harbors hope somewhere within.

It’s a delicate balance that both actors had to strike to make it look convincing. If either had faltered, this would have been a different film altogether. They were both superlative in their performances.

Mammootty as ‘Kodumon Potti’ is the stuff of legends. Every time he appears on screen, he sets it ablaze. Yes, the dialogues help. They are well-written, but they aren’t the massy whistle-worthy type. This was a nuanced performance from an actor who is at the top of his game. He is the evil Potti from start to finish. Despite, the actor’s filmography, I am going to garner the courage to say that this is one of his finest performances.

Pic description – Mammootty in Bramayugam

It’s not that Bramayugam is a flawless film. It falters where most films do: in its writing. In some scenes, the pace was too slow for my liking. But at each such moment, there was also the promise of something unexpected. The scariest horror films are those where the anticipation of evil is kept alive throughout. The screenplay written by the director and TD Ramakrishnan, excels in playing with the audience’s mind. Also, where the writing faltered the technical team made up.

Pic description – A scene from Bramayugam

This brings us to the cinematography by Shehnad Jalal. By now, a thousand theories of why the film was shot in black and white are afloat. What can we attribute it to? A quest to travel back in time, a need to tone down on colors to allow for fewer distractions, an ambition to make the frames more timeless: maybe? But, for me, the story felt like a journey back in time to when we were cuddled up in warm blankets, as toddlers or as teenagers, listening to dark fairytales told by our grandmothers. The color choice seemed to be a tribute to that era.

Apart from color the use of unusual camera angles to evoke tension and claustrophobia was noteworthy. It is interesting to note that some of the locations in the film have been seen in many other Malayalam films. However, production design and DOP teams have ensured they are unrecognizable.

To conclude:

‘Bramayugam’ is an inventive chamber drama that uses elements of fantasy and folklore to tell an allegorical, scary story about greed, discrimination and the lust for absolute power. The technical team has done a stellar job in realizing the vision of the script backed by excellent performances by the actors.

Go watch ‘Bramayugam’ in a theatre near you. This is a film made for the theatre experience.

IMDb rating – 8.6/10

My rating – 4/5

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About the author:

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 blog (www.whatsonsidsmind.com), he publishes his travelogues, food stories, book recommendations, and film reviews.