Tag / Movie Review

by whatsonsidsmind

Family, History and Heartache: Why A Real Pain Stays with You

Written by: Siddhartha Krishnan | 3 Min Read

The problem with reviewing a film like A Real Pain is that it’s easy to get swept up in over-intellectualizing every aspect of it. In doing so, there’s a risk of missing the quiet simplicity the film also exudes. That said, it’s hard to put into words exactly what this film does to you as an audience.

The story begins at the airport, where David and Benji are about to board a flight to Poland. The brothers have planned a Jewish heritage tour, funded by money left to them by their late grandmother. Through this journey, they hope to reconnect with their Jewish roots and confront the horrors of the Holocaust that their grandmother survived. Their itinerary includes a visit to the home she once lived in and was forced to flee from during the war.

But beyond tracing their grandmother’s past, the brothers—once close—also hope to rebuild their own fractured relationship. Given their vastly different personalities, that seems like a near-impossible task.

From the outset, it’s evident that A Real Pain isn’t driven by plot. Written and directed by Jesse Eisenberg, (who also plays the role of David), the film has no dramatic twists or grand narrative arcs. Even as it takes the shape of a travelogue, the film resists the temptation of a sweeping, cinematic canvas. When the characters arrive at historically significant locations, the focus remains firmly on their personal reactions rather than the historical context—those details are mere passing references.

And yet, the screenplay remains compelling. It navigates a delicate spectrum of confusion, empathy, and detachment that the characters experience in the shadow of these haunted places. There is a lot of humor, but beneath all those funny lines and chaotic moments, there is something profound and deep. It’s the bedrock of the film and you get a sense of it from the very beginning.

In one of the film’s best scenes, while travelling first class, Benji is unable to reconcile the luxury they’re enjoying with the brutal history of those very tracks, once used to transport their ancestors to concentration camps. He suggests they move to economy class out of respect, but the others dismiss the idea, unwilling to share his discomfort. Frustrated, Benji exits the compartment in quiet protest.

This film, in terms of its acting performances, does not give a staged feel. It was fluid in a way that makes you question whether it’s a story that is unfolding or something that demands your immediate attention, for the realism of it all. It’s fiction at its best, when lies say very true things. For me, that was Kieran Culkin’s performance in this movie. He brought so much of himself into the film that I didn’t know how much was him and how much was the part he was playing.

On The Graham Norton Show, where both actors appeared together, Kieran revealed that Jesse cast him without having seen any of his work. Having known him somewhat, Jesse said he cast him based on his “essence.” This may sound bizarre—especially for a part he had originally written for himself, drawn from his own family history and a Jewish heritage trip he had taken years earlier.

However, after watching some of Kieran’s promotional interviews, his real-life persona feels remarkably similar to that of Benji. That said, he also admitted in those interviews that he wasn’t initially convinced about taking the role. But thankfully, for movie lovers, things fell into place. It couldn’t have been any other way—so far as the casting of Benji and David goes, both were perfect for their roles.

Kieran now has an Oscar for Best Supporting Actor to show for his efforts. The character of Benji is, without a doubt, the true standout of the film—dynamic, wild, and impossible to ignore. Eisenberg writes him with such finesse; he’s someone you both hate and love at the same time. Someone you don’t want to be, yet are easily enchanted by.

The way David navigates Benji’s chaotic presence is what makes A Real Pain such a deeply fulfilling watch. The backdrop of a troubled family Holocaust history gives the film its much-needed layers. But at its core, it remains very much a family drama—intimate, relatable, one that will stay with you.

IMDb rating – 7.1/10

My Rating – 4/5

A Real Pain is streaming on JioHotstar in India.

***

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 of this review reserved by whatsonsidsmind.com

by whatsonsidsmind

Adolescence | Review | A Haunting Dive into the “Why” of a Crime | Netflix

Written by Siddhartha Krishnan | 4 Min Read

Adolescence is a hard-hitting British drama series that defies categorization, shifting genres across its four episodes. It begins as a police procedural, evolves into a social drama, delves into the realm of an investigative/psychological thriller, and culminates in a family drama. But it’s true novelty lies not in this fluidity, but in its multifaceted exploration of a difficult subject—examining it from every angle with unflinching depth. Equally striking is its execution, with masterful cinematography and meticulously crafted scenes that leave a lasting impact.

The miniseries wastes no time, opening with the arrest of 13-year-old Jamie Miller, accused of murdering his schoolmate—a girl his own age. The police claim to have enough evidence to charge him, thrusting his parents into a nightmare they never saw coming. They believe in their son’s innocence; in the values they instilled in him. This is where the contract is signed with the audience, by writers Jack Thorne and Stephen Graham, and what follows makes for some gripping cinema. Graham also co-creates the series, and stars as Jamie’s father. His performance is one of the highlights of Adolescence.

One of the series’ most striking feature is its use of single continuous shots—each episode, nearly an hour long, unfolds without a single cut. The sheer planning and precision required to pull off such a feat is staggering, but the payoff is undeniable. This technique immerses the audience completely, whether inside the Millers’ home, a police station, a school, or even a moving car. The cinematography heightens the urgency, drawing viewers deeper into the unfolding tension.

However, at times, the dialogue feels repetitive. This may be an intentional choice—adding to the realism and avoiding a staged feel—but in places, particularly in the second episode, it slows the momentum. A tighter edit could have sharpened the impact without losing the authenticity.

The third episode is the standout, centering on the tense interrogation of 13-year-old, Jamie (Owen Cooper) by psychologist Briony (Erin Doherty). It plays like a film in itself—raw, emotionally charged, and deeply engaging. Both actors deliver spontaneous, natural performances that heighten the episode’s intensity, making every exchange feel immediate and real.

It’s in this episode that Adolescence truly soars, unraveling its deeper intentions. When asked to classify the series, Erin Doherty cited writer Jack Thorne, saying, “It’s not a whodunnit but a whydunnit.” The show isn’t just about solving a crime—it’s about understanding the motivations behind it. The creators dig deep into the psychology of their characters, examining parenting, masculinity, sexuality, peer pressure, and the relentless need for validation among teenagers in the age of social media.

Adolescence deserves to be in the Emmy conversation next year across multiple categories. Watching it, I was reminded of Baby Reindeer, another British drama that swept the 2024 Emmys. Both series tackle difficult subjects with unflinching depth, refusing to look away. And like Baby Reindeer, Adolescence is not an easy watch.

Here, the prime accused—if we were to call this a crime drama—is a teenager. The devastation his family endures is harrowing, making parts of the series deeply unsettling. Yet, it ends on a note of hope, particularly in its exploration of parenting. It confronts generational trauma—how it seeps through unnoticed, despite our best efforts, shaping us in ways beyond our control.

With its powerhouse performances, gripping screenplay, and fearless honesty, Adolescence is essential viewing—especially for parents and teenagers.

Verdict:

IMDb rating – 8.4/10

My Rating – 4/5

Adolescence is now 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

Black Warrant – A Prison Drama that Locks You In

Written by: Siddhartha Krishnan | 3 Min Read

When we think of prison dramas, classics like The Shawshank Redemption, The Green Mile, and Escape from Alcatraz come to mind. Unfortunately, Indian films have rarely explored this genre in depth. While a few films have touched upon it, none have left a lasting impact. This is the reason why Black Warrant, a TV series conceived by Vikramaditya Motwane and Satyanshu Singh, and helmed by six directors, instantly piqued my interest. The fact that it is based on real-life incidents from India’s most notorious prison makes it even more compelling.

Based on the book by Sunetra Choudhury and Sunil Gupta, Black Warrant follows Gupta’s journey as a rookie jailer at Tihar Jail. Set in the 1980s, it unravels real-life events from his perspective, offering a rare, unfiltered glimpse into Tihar jail.

The series’ greatest strength lies in its razor-sharp screenplay by Satyanshu Singh and Arkesh Ajay. From the very first scene, it grips you—tense, fast-paced, and laced with unexpected humor. In an interview with film critic Baradwaj Rangan, journalist and author, Sunetra Choudhury talks about how the screenplay focused on aspects of the book that would make for compelling cinema.

The writing is intelligent, layered, and relentlessly engaging. Many scenes feel fresh and unlike anything seen before in Indian TV shows. Some kept me on the edge of my seat, others left me deep in thought, and a few even made me laugh out loud—a rare combination that makes Black Warrant truly exceptional from a writing standpoint.

Another standout aspect of the show is its impeccable casting and performances. Every actor fits their role like a glove, bringing authenticity through nuanced expressions, effortless improvisations, pitch-perfect dialogue delivery, and spot-on accents.

Among them, Rahul Bhat as DSP Rajesh Tomar and Zahan Kapoor as Sunil Gupta deliver compelling performances. Sidhant Gupta as Charles Sobhraj steals the show whenever he’s on screen, armed with some of the series’ best lines. He portrays the serial killer as a celebrity, delivering the show’s most philosophical one-liners.

The production design is also exceptional, meticulously recreating the era while keeping the storytelling sharp and modern. The editing is crisp, leaving no loose ends, making Black Warrant an engrossing, fast-paced thriller—despite being set within the confines of a prison.

Verdict:

Black Warrant is a must-watch for fans of the genre. It transports you to a bygone era, peeling back the layers of India’s most infamous prison with gripping storytelling and immersive detail. Riveting, raw, and unexpectedly entertaining—this is prison drama at its finest.

IMDb Rating: 8.1/10
My Rating: ★★★★☆

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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

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

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

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.