Tag / cinephile

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

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.

 

by whatsonsidsmind

Understanding the Cinema of Martin Scorsese through Killers of the Flower Moon

A scene from Killers of the Flower Moon

Written by: Siddhartha Krishnan | 7 Min Read

“I always tell the younger filmmakers and students: Do it like the painters used to…Study the old masters. Enrich your palette. Expand the canvas. There’s always so much more to learn” – Martin Scorsese

I opted for a 10 pm show of the Killers of the Flower Moon, a day after its release in India. Must admit that I was wary to begin with since I had little idea of the subject at hand. Moreover, with a run time of 3 1/2 hours, the filmmaker was demanding my patience. Something, Scorsese has been known to do off late. The Irishman is a case in point. The older he has gotten the more fearless he has become.

Having said that, as an audience thrown into an alien world, where things were moving at the pace of a tractor through the prairies, things weren’t exactly thrilling at first. More so, with my eyes getting heavier with every passing minute. It took a while to realize, that the pace was deliberate. A kind of ‘slow poison’, that is intended to kill your ignorance, and your apathy. (I’ll get to this point later in this article)

Scorsese with his actors

Given the violent themes that Scorsese picks, I was introduced to his films quite late. Well into my adulthood to be precise. Thereafter, I’ve seen most of his films. Halfway into Killers, a question sprouted in my mind—does Martin Scorsese have a signature style? I ask because I don’t see that style as clearly as I would in a Quentin Tarantino or Christopher Nolan film.

Let me rephrase for specificity—what is similar between Taxi Driver and The King of Comedy, Hugo and Raging Bull, The Wolf of Wall Street, and Killers of the Flower Moon, that tells me that this is a Martin Scorsese film.

The question compelled me to dig a bit deeper, and the findings were fascinating. I’ll be sharing what I discovered in light of the director’s latest offering.

Based on journalist David Grann’s best-selling non-fiction book ‘Killers of the Flower Moon: The Osage Murders and the Birth of the FBI’ the film tells the gruesome story of the Osage Murders from the perspective of the Osage people. The genocide of the indigenous people of America is a fact known to all. How it happened is the USA’s best-kept secret.

The film opens with a group of Osage elderly burying a ceremonial pipe mourning their gradual assimilation into white society after American lawmakers move them from Kansas to Oklahoma, into a reserved area. But soon their sorrow turns into joy when they discover oil in their allotted land, making them instantly rich. But this newfound wealth invites the greed of white people, some of whom work for the Osage and some others who have foul motives.

Deputy Sheriff, William King Hale, popularly known as ‘King’, played by Robert Di Niro is one such fox. He poses as a benefactor but means the tribe no good; secretly planning the murders of the Osage members to inherit their wealth by getting his trusted men to marry into their families. This is when Ernest Burkhart, a World War I returnee, played by Leonardo Di Caprio comes into the scene. The first conversation between King and Ernest is where Scorsese’s most striking characteristic as a filmmaker comes to the fore.

  1. Character Study –

In the scene, King tries to understand how desperate Ernest is to get rich, and what his weaknesses are. We get an understanding of Leo’s character; that he is greedy and gullible. The conversation sets the tone for the film. Much like the opening scene of Taxi Driver, ‘the interview scene’, where De Niro’s character is applying for the job of a taxi driver. There too, the interview helps strike a contract with the audience.

A scene from Killers of the Flower Moon

You see such conversations throughout Killers, especially between the three main characters, King, Ernest, and Mollie. ‘Mollie Kyle’ (played by an excellent Lily Gladstone) is an Osage member whom Ernest marries on the advice of King. We know as an audience that their relationship is doomed, but that is what makes the scenes between Mollie and Ernest the most captivating. In the beginning, Mollie is suspicious of Ernest, but once she gives in, she becomes a slave to her love for him. Ernest on the other hand, is a slave to his greed. His greed is more powerful than the love he has for Mollie. The portrayal of this relationship is the highlight of the film.

You find parallels in The Wolf of Wall Street where Leo and Margot’s characters try to get into each other’s minds in the infamous dinner date scene. Although the characters are vastly different from the Killers of the Flower Moon, the similarity is how Scorsese finds cinematic value in simple conversations to reveal the qualities of his characters.

A scene from The Wolf of Wall Street

The director is not interested in demonizing or glorifying his characters. He is keener to show their motivations no matter how flawed they are. Exploring the things that make them human. He likes unraveling the layers of his characters through conversations, monologues, and voiceovers; anything that has cinematic value.

  1. Frequent collaborations with actors –

Robert Di Niro in Raging Bull

Given that his films study their characters deeply, Scorsese expects his actors to be in top form. He prefers actors with the requisite skills whom he can trust. Which explains his frequent collaborations with Robert Di Niro and Leonardo Di Caprio. Di Niro has featured in ten Scorsese films since 1973 (Mean Streets) and Caprio has been part of six. Both are part of his latest offering.

  1. Violent themes –

Growing up in an Italian neighborhood in the 40s and 50s New York, Scorsese had seen violence up close. He saw how it became a part of the daily life of people. Thus, violence is an important part of most of his films. As a filmmaker by choosing characters who are always on the edge, he gives himself a lot to play with and explore. However, he doesn’t stick to a certain style to show violence. In Gangs of New York and Goodfellas, the violence is brutal. In Killers, while the act of committing murders is violent, death has a certain calmness about it. Let’s take a scene from the film –

A scene from Goodfellas

When Mollie’s sister’s house is bombed; chaos ensues. People dig through the rubble frantically to find the bodies. But when the sister’s body is found Scorsese infuses fantasy into the screenplay by using the elements; in this case fire. The faces of the dead are calm in Killers. All of them. You find parallels to this scene in Scorsese’s 2010 psychological thriller Shutter Island, where he uses surrealism to evoke gloom.

According to Thelma Schoonmaker, his editor since the 1980s, he shows violence differently now compared to his earlier films. Moving from tight close ups (Goodfellas, Raging Bull) to wide shots (The Irishman, Killers of the Flower Moon). This might be a result of Scorsese evolving as a human being. His understanding of violence and death may have changed. A New York Times article describes a murder scene in The Irishman as “framed wide, hard and fast — simple, bloody, done”.

  1. Production design –

Sets of Killers of the Flower Moon

Production design (costume and sets) plays an important part in Scorsese’s film. They help him build believable worlds that his characters inhabit. The eye for detail is always immaculate in his films. It’s the same in Killers as it was in Casino or Hugo or The Aviator. The subjects of these films were vastly different, but by building authentic worlds he keeps the audience invested in his stories.

  1. Editing and Cinematography –

Countless images and sequences from Scorsese’s films have inspired many filmmakers over the years. His freeze frames, sped-up footage, long takes, long tracking shots, montages, and slow-motion sequences have created cinematic moments that have stayed in the minds of cinephiles.  But his editing techniques do not have a sameness. In Casino, The Departed, and The Wolf of Wall Street, he resorts to quick cuts and jump cuts to convey the required information or to be in tune with the energy of the film.

A scene from Taxi Driver

In Killers he is in no hurry. The pace is deliberately slow, at least in the beginning, picking up pace gradually towards the end. He trusts his audience to hang in there and stay invested. The nature of the crime shown in the film required this pacing; slow but menacing. Getting this balance right was the trick. It took me a while to understand this aspect while watching the film (a point I had raised earlier).

  1. Music –

Scorsese is known to have compiled several music pieces since his teenage years. He has used them in his films wherever he deemed fit. He is also known to use pop music, rock n roll, instrumentals etc. He uses music to enhance narratives and depict the arc of his characters. They may not be his personal choice of music. Again, there is no sameness when it comes to music. But music is an integral part of his films.

In Killers the music is minimalistic. Just drum beats mostly to create the dread, and to convey the impending doom. In the happier moments, like when the Osage discover oil, he uses classic rock. It works.

A scene from Shutter Island

So in light of the above findings, what did I make of the Killers of the Flower Moon?

Is it the directors’ best work? Maybe not.

Is it compelling cinema? Absolutely yes.

I think it is another feather in the cap of the visionary filmmaker who is aging like fine wine.

A scene from Killers of the Flower Moon

What is the Martin Scorsese signature style of filmmaking? I don’t think he has one, unlike many of his contemporaries, which is what makes him unique.

The only recurring feature of his films is how he studies his characters deeply. The rest is fluid, often taking the style of the technicians and artists he is collaborating with, be it editing, cinematography, music, or production design. The signature for him is not as important as the story that needs to be told. And there is no doubt that Martin Scorsese has told some powerful stories and given us cinephiles many iconic characters over the years.

Ending with another quote of his –

“Your job is to get the audience to care about your obsessions.”

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 website, http://www.whatsonsidsmind.com, he puts out his essays, articles, travelogues and film reviews.

Source reading material –

Studio Binder

New York Times