Tag / Movie Review

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.

 

by whatsonsidsmind

Kaathal – The Core | Movie Review | An Empathetic Film that Lacks Realism and Still Shines

Written by: Siddhartha Krishnan | 5 Min Read

Jeo Baby’s filmography, thus far, makes it amply clear that his films are issue-based. However, they are also characterized by a delicate balance between storytelling and visual aesthetics with a keen eye for detail. For instance, in ‘The Great Indian Kitchen’ the camera was not just a visual accompaniment but a storyteller in itself. A fly on the wall in the kitchen of a middle-class Malayali household, capturing the horror, and angst that only a neutral onlooker can see. In ‘Kaathal’, he chooses a different kind of visual grammar to suit the film’s tonality. Here, there is a certain calmness about things; the pace is unhurried with considerable use of slow-motion and long takes, to give the scenes a somber, poetic touch.

Although the director and his writers, continue to navigate the complexities of societal norms, throwing light on the human state against social constructs, ‘Kaathal’, is more accepting in its narrative, compared to ‘The Great Indian Kitchen’. While there is conflict, it does not ever get to a point where the conversations turn toxic. This is true for all of the characters. Thus, one can ask if realism was sacrificed, that too, in a socio-political film at the altar of empathy. If yes, why?

Was it because a superstar was playing the lead? Maybe.

The counterargument can be that a superstar is a more appropriate vehicle to get the film’s message across to a wider audience. This film does have an urgent message that it conveys with clarity, that too with minimal dialogues, in the classic Jeo Baby style of more show than tell.

‘Kaathal’ benefits greatly from its layered storytelling and well-etched-out characters. For example, all facets of the lead character, Mathew, as a father, husband, son, a candidate standing for local body elections, and a gay man fearful to confront his truth, have been explored. So, is the case with Omana, Mathew’s wife. She quietly goes about fulfilling all her responsibilities, as a mother, and a daughter-in-law, without letting the strain of her relationship with her husband come in the way of them. But she is strong enough to not accept the way her husband has treated her, and files for divorce. She does so also to rid Mathew of his misery.

The scenes of ‘Kaathal’ have been written with care. Despite, the absence of a clear backstory we can visualize what might have led to the circumstances the characters find themselves in. The courtroom sequences for a change are not loud. They have been written to give the audiences a background of such cases in the past, the complexities of the issue at hand, and with a clear intent to not give ready answers. The confrontation scenes between Mathew and his father, Mathew and his daughter, and Mathew and Omana are highlights of the film unraveling the poignant truths of these characters.

None of the actors are there in the film without having contributed to the story. The performances are the film’s strongest point. Restrained, subtle, and still powerful. What the film lacks in realism, it makes up with convincing performances. Even the side actors have done a fabulous job. Malayalam cinema is blessed to have such actors to choose from. They always have; a fact alluded to by director S.S. Rajamouli in a recent interview.

Kaathal, however, rests firmly on the shoulders of its lead characters. Mathew, played by an excellent Mammootty, and Omana, played by an assured Jyothika. Even their silences speak volumes. While Jyothika’s eyes convey the bottled-up frustration of 18 years; when she finally speaks up, her speech is measured and mature. She doesn’t want to destroy; she wants to liberate.

Mammootty plays the gay man who has suddenly been forced to face his truth. Stifled, he has no choice but to be a silent, helpless spectator to the cocky insults and pointless advice of his friends, relatives, and colleagues. Without much dialogue just through his eyes and subtle expressions, he conveys so much.

At 72, Mamootty, the actor, Malayalam superstar, three-time national award winner, and father of heartthrob Dulquer Salmaan seems to have abandoned all fear. Just look at his choice of films over the last two years. They seem to be a testament to his state of mind. In the neo-noir film, ‘Rorschach’ he plays the wicked NRI businessman, Luke, who lands one fine day in the forests of Chalakudy in search of his wife, who goes missing after an accident. In LJP’s, ‘Nanpakal Nerathu Mayakkam’, he plays James, who wakes up from a siesta on a bus believing that he is Sundaram, walking nonchalantly into a tiny village in Tamil Nadu, where he thinks he belongs. In the psychological drama, ‘Puzhu’, he plays Kuttan, a high-ranking IPS officer and widower, a bigot, who cannot stomach the fact that his sister has married a man from the lower caste. In ‘Kaathal – The Core’, he plays Mathew, a gay man contesting local village body elections, when he is confronted by his wife, who has filed for divorce, thereby forcing him to accept his reality.

It’s not that Mammootty’s filmography did not have diversity earlier. But his choices of late have been bold, which his contemporaries across industries, have not shown enough. That he is a great actor, is known to all, but now there is a languid elegance about his performances. A trait that Malayalis, have associated with his contemporary, Mohanlal, whom many consider the more gifted of the two. While Mohanlal’s choices in recent times have not done justice to the actor in him, barring a ‘Dhrishyam’, Mammootty’s choices have been stellar. ‘Kaathal – The Core’, is a risky choice for a superstar, for there is so much to lose. But he delivers one the finest performances of his career. He also ensures that a film with an important message reaches a larger audience. In many ways, in the era of new-age experimental cinema, ‘Kaathal’ has invoked the golden era of Malayalam films (80s and 90s) when it was simple, thought-provoking, and enjoyable.

IMDb rating – 7.8/10

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 puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Animal Movie Review – A High-Octane Mass Entertainer that was Pretending to be Something Else

Written by: Siddhartha Krishnan | 5-Min Read

Full disclosure first:

  1. I am a fan of Ranbir Kapoor’s acting. I think he is one of the finest actors in India, whose full range is yet to be discovered.
  2. I believe that films should be made on all sorts of subjects and all kinds of characters. Characters that are good, amiable, virtuous, docile or flawed, misogynistic, dark, vile, and ‘animalistic’. Let the audience decide what they want to watch. Making films only about righteous, virtuous characters does not make the world any safer. Films in the end are meant for entertainment. They alone cannot be held responsible for spreading toxicity. What about upbringing, education, culture, and beliefs?
  3. I went in with high expectations for ‘Animal’ because the trailer suggested a character study of a man whose descent into madness is due to a toxic relationship he has with his father; a relationship apparently ‘carved in blood’. It gave me vibes of several gems in this genre, like ‘Taxi Driver’ and more recently ‘Joker’.
  4. What also piqued my interest was the director almost threatening his audience, in pre-release interviews, with violence that has never been seen on Indian screens, almost hinting at a genre that Indian directors have not dared – slasher/blood porn. A well-established genre in world cinema with films like ‘I Saw the Devil’ (South Korea), ‘Irreversible’ (France), ‘Goodnight Mommy’ (Austrian), and ‘Saw’ (USA) to name only a few.

What did we get? Here is my review.

Warning – in places this review might metamorphose into a rant that might be toxic for some. (Minor spoiler alert)

      The Bad

  1. The Promise of Violence …

A scene from ‘Animal’

It is one thing to make a promise, and another to keep it. Director Sandeep Reddy Vanga wasn’t even promising, he was threatening the audience with such violence that would make the squeamish pee in their pants. What did we get?

Masked men in their hundreds slashed and swatted like mosquitoes with an axe by a flawed hero in a ketchup party. Thereafter, he unleashes an other-worldly killing machine, apparently ‘Made in India’, with which he makes the remaining thousand mosquitoes fly in all directions, and a paintball party ensues where the so-called gore is hidden within clouds of smoke and balls of fire. What’s more, he has a small army with him, whose job is to sing while he plays ‘Call of Duty’ all alone in a five-star hotel, in a city, where law enforcement doesn’t exist.

See, I am all for suspending disbelief and leaving my brain at home. But the director was asking me to convince myself that my brain was my ‘d&#k’. How do I do that? By the way, ‘Call of Duty’, the video game played by 10-year-olds has more realistic violence than this comical slash fest, and that has me worried.

The one thing that this pre-interval scene does get correct is syncing the action to the beat. No mean task that requires technical prowess, and credit to action director, Supreme Sundar for achieving this. Also, Ranbir pulls off the outlandish fight scene with conviction and swagger single-handedly.

In the action sequences, you do see the influence of Korean and Thai films. But where the director has lacked, is in the writing. It had no vision, novelty or eye for detail, and it was not too distant from the action scenes already seen in South Films. In terms of shock value, cringe worthiness, and pure impact films like ‘NH7’, ‘Gangs of Wasseypur’, and ‘Badlapur’, have done a far better job.

Given the hype around the violence, I was worried that some scenes might be unsettling for my wife, who doesn’t like this kind of cinema. But in the end, we laughed through those scenes for being so outlandish. If that is what the director was aiming for, kudos to him.

  1. The Promise of a Character Study …

A scene from ‘Animal’

The trailer of ‘Animal’ suggested that it was going to explore toxic masculinity through the lens of not only physical violence, but also, mental, verbal, and sexual violence. The proposition, therefore, was new for Indian cinema because the lead character’s arc no matter how filthy or vile, had the potential to be nuanced, as well as stark. What did we get?

A constant barrage of vile, disconnected, and rhetorical – dialogues, monologues, anecdotes, and stories intended only to provoke and not to make audiences detest or connect with the lead character. Let’s take an example to make this point clearer – In the ‘Joker’ when Arthur (Joaquin Phoenix) brutally murders his friend Randall at his house, I remember some within the audience cringed and others were shocked. The ones who cringed detested the transformation of an abused man from naivety to becoming a criminal. The ones who were shocked empathized with Arthur but did not agree with the methods of the ‘Joker’ he had become. Either way, a connection with the audience had been established. This is a result of great writing.

I could not connect at any level with the Animal’s ‘Ranvijay’. The reason for his toxicity is never clearly established. We know, it’s because of his father, but how, when, where, and why is either left to the imagination or lost in translation. So when he is violent verbally, physically, or sexually through action or dialogue the reaction from the audience is laughter. Laughter at being toxic? If that was the reaction the director was trying to evoke, kudos to him.

A scene from ‘Animal’

If this was truly a character study, the toxicity would have spoken to the animal/darkness within all of us. Silence would most certainly have been the natural response to that conversation. Instead, there were giggles and chuckles instigated by the sarcasm in the dialogues. So what was the director trying to make – a satire?

Here’s my take on this aspect – Please get at your naysayers, silence your haters, and flaunt your ideology, if you must. But your politics cannot hijack the story and cheat the audience who bought a ticket to watch your film.

  1. The Promise of Originality …

Telegu superstar, Mahesh Babu in a promotional event before thousands of fans called Sandeep Reddy Vanga an original filmmaker. The hype was epic suggesting that we are going to see something not imagined in our wildest dreams. What did we get?

A son, on a rampage to kill those who tried assassinating his father. Is that new? Okay, is there newness in the violent action scenes then?

In all, we get three action scenes –

First, a desi version of the ‘hallway fight’ scene from ‘Oldboy’. Then, a sanitized, fabulist, fantasy version of the ending carnage scene from Rambo (2008). Finally, a full-on ‘Punjabi hand-to-hand Kushti scene’ with an emotional song in the background.

So much for originality.

A scene from ‘Oldboy’

‘Animal’ is most original in its last 15 minutes when it stays true to the subject at hand; the so-called father-son relationship ‘carved in blood’. Here, the conversation elevates from superficiality to being meaningful.

As for the blood and gore, the film is bloodiest in the post-credit scene, promising a second part, thereby making the entire film look like a promo for the sequel.

The editing of ‘Animal’ is jarring. The director chooses a non-linear narrative that lacks cohesion. It seems like several films within the same film. Moreover, the second half is a stretch. Some say it could have been 20 minutes shorter. However, to me, the 2nd half felt like a different film altogether, until the climax.

The Good

  1. The Music –

Animal’s songs and background score are its big USP. While some of the songs seemed unnecessary for the moments, they still are good songs. The BGM elevates the scenes considerably and is apt throughout the run-time.

  1. The Screenplay (in parts) –

Despite the disjoint writing, the screenplay is entertaining in parts. These moments show what the film could have been. Also, some of the twists were intelligently placed.

  1. The Performances –

A scene from ‘Animal’

The film’s strength is its stellar cast. All the actors have done fine a job. Anil Kapoor does his best to give a nuanced performance, but it’s only in the end that his character is given the space and time to shine. Rashmika is best when she confronts Ranbir’s character and despite apprehensions, she too delivers a decent performance. Bobby Deol is grossly underutilized to the point that I am now thinking what was the point of that 6-minute cameo? However, he shines in the little that he has to offer. The problem is that the motivations of these characters are not fully explored despite the film’s long run-time.

However, make no mistake, this is an out-an-out Ranbir Kapoor show. And despite all the flaws in the writing, he still manages to keep the eyes glued to him. If anyone could have played this role with conviction it was him. He was ‘Animal’ from start to finish.

A scene from ‘Animal’

Conclusion:

I wanted to like this film. But I guess the director was more interested in provoking his haters than making a good film. If I am a true cinephile, there is no way I can call this a good film. This might offend some and please a few. So be it.

That said, all the awards for the best cut trailer should go to ‘Animal’. The makers were able to make the audience believe what the film was not.

My Verdict:

‘Animal’ is a high-octane, mass entertainer that pretends to be brave and intelligent as well. It is engaging in parts, mainly due to its lead actor and a great cast, but it explores toxic masculinity and abuse with the maturity of a fifth grader who has recently discovered the meaning of the words power, sex, abuse, and violence. It will rake in the moolah, given the hype, but I don’t think it’s a film that is going to age well.

IMDb rating – 7.5/10

My rating – 2/5

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

 

by whatsonsidsmind

The Father | Movie Review | A Masterclass in Set Design and Acting

Written by Siddhartha Krishnan | 4 Min Read

If the mind is a labyrinth of myriad thoughts and memories, then ‘The Father’ is an exquisite cinematic depiction of its mysterious workings. It imagines memories to be like pieces of a puzzle, that lack meaning by themselves. But when stitched together, they are like rooms of a house.

Florian Zellar’s ‘The Father‘ is as close to perfection that a film can strive to be. With a subject like dementia, it was easy to make another sob fest. Thankfully, however, the makers chose catharsis over melodrama. And so, we enter a fragmented mind, to experience up close the confusion and helplessness.

The film follows an octogenarian, who is constantly forgetting important life events. He is stubborn, egoistic, and yet a charmer. Anthony (played by Sir Anthony Hopkins) is not able to understand why his memory regularly fails him. Anne, his daughter, and principal caregiver (played by Olivia Colman) tries everything within her capacity to pacify him. But it is a losing battle, and sadly, acceptance is their only road to salvation.

To say that ‘The Father’ is heart-breaking is a no-brainer. But the overriding emotion one feels as an audience is confusion, since we are seeing things from the perspective of a dementia patient. But how did the director manage to achieve that?

The answer lies in the production design.

Perceptibly, there are three locations shown in the film. Anthony’s flat, Anne’s house, and the hospital. Set designer Peter Francis, in an interview explains, that to infuse confusion in the narrative they kept the architecture more or less the same across the imagined locations. But to distinguish between these locations, they made minor changes to the furnishings and furniture, which aren’t easily noticeable.

Also, doorways play an important role to show perspective—who is on the inside, and who is on the outside? Or to be more specific—what is real and what is unreal? The use of similar looking doors to move from one space to another, where the spaces themselves look oddly similar, gives the feeling that we are swimming through someone’s memories. Additionally, color tones of the walls, windows and furnishings, distinguish between different timelines, since Anthony frequently navigates between the past and present without his knowing.

‘The Father’ undoubtedly rides on the shoulders of its actors. In an interview with Stephen Colbert, director Florian Zeller said that he chose Anthony Hopkins for the role because we’ve known him to have essayed characters that are typically dominant or in control of their situation. For him to be shown as a dementia patient, the director believes was the perfect antithesis given Hopkin’s filmography. Well, an Oscar for best actor in a leading role proves that theory!

However, without a brilliant Olivia Colman, as Anne, the scenes wouldn’t have made the impact that it did. She brings in the required empathy and vulnerability to her role. She holds her own in all the scenes with the stalwart and elevates them. The two give a masterclass in acting.

To sum up, ‘The Father’ is a labor of love. It plays with very little and yet is magical. It is a rare piece of cinema that makes you cry, but with a profound realization. A must watch.

IMDb rating – 8.2/10

My Rating – 5/5

You can watch ‘The Father’ on Book my Show app for a rental of Rs 89.

 

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is a blogger and, on his website, www.whatsonsidsmind.com, you can find his travel diaries, food stories, book recommendations and movie reviews.

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

2 Must Watch War Films on Netflix | Movie Review

Omaha Beach Scene from Saving Private Ryan . Pic credit – telegraph.co.uk

Written by Siddhartha Krishnan . 5 Min Read

The year was 1998. I was 15 years old. Inside a packed hall in Lighthouse Cinema (Kolkata), we were watching Steven Spielberg’s Saving Private Ryan. A few minutes into the film, the famous Omaha Beach Scene happened. The air turned cold and tense. It showed in my breath which was getting heavy. I clenched the arm rest, discomforted by the carnage that was unfolding on screen. The audience around me fared no better. They too were stunned.

Each bullet that pierced the heart of a soldier, and each bomb that shattered their bodies into pieces, made us nauseous. Something changed in me that day. Perhaps it was my idea of war, which until then, had been largely shaped by the Hindi films of that decade. Unknowingly, I was guilty of romanticizing war. But this was very different. I loved the film, but I began to hate war. It left me with several unanswered questions. Who really wins a war? Who are the people calling it?

Recently, I watched two war-based films that made me remember that experience from years ago. The following are my thoughts on these two poignant and beautifully crafted films.

Last Men in Aleppo (2017)

Genre – War Documentary

Director Feras Fayyad

Last Men in Aleppo – Poster. Pic Credit – Grasshopper Films

Nowadays, documentary filmmakers have become very innovative with their storytelling. With the latest technology at their disposal, there are a million ways to tell a story. However, letting the camera do the job without intervention, is still perhaps the most truthful and effective. Director Feras Fayyad, does that with Last Men in Aleppo. As they say, a picture is worth a thousand words.

‘World Documentary Grand Jury Prize’ winner at the Sundance Film Festival (2017), this film is not for the faint-hearted. But it is essential viewing. It documents the everyday life of a volunteer group, called the White Helmets, who were engaged in search and rescue operations during the Syrian Civil War. These are ordinary citizens who have the choice to flee hell, but have chosen to stay on and save lives. They pull out dead bodies, from mountains of rubble, of little children and their mothers, hoping to find one alive. A torso, a hand, a finger, is all they find sometimes, yet, they muster courage to tell stories of hope to each other; that there will be a better tomorrow.

Shot in guerrilla style, this is documentary filmmaking in its rawest and truest form. It shows the cost of war and who really benefits from it. The camera is like a fly on the wall masterfully capturing the anguish and horror, as well as the rare moments of joy that these courageous men manage to find sometimes.

The film asks several questions of us, the fortunate, who do not have to deal with a crisis of this magnitude. Our understanding of happiness is one of them.

Pic credit – indiewire.com

The Bombardment/The Shadow in My Eye (2021)

Genre – Historical War Drama

Director – Ole Bornedal

Netflix Poster of The Bombardment. Pic credit – Netflix

Based on Operation Carthage carried out by the UK’s Royal Air Force towards the end of World War II, Danish film The Bombardment also called The Shadow in My Eye is a hard-hitting story told primarily through the eyes of children. The Air Force’s plan was to bomb the Gestapo stronghold in Copenhagen, Denmark, which was under Nazi occupation. While they do manage to hit their target, they mistakenly bomb a school (Institut Jeanne d’Arc) as well, killing innocent children and civilians. But the film is not just about that unfortunate incident. It captures several moments in the lives of its characters leading to the fateful event; to tell a poignant story about the cost of war.

The film, unusually, does not have a protagonist. It has five lead characters out of which three are children. Their performance is another strong point of the film. However, I found the character of the nun played by a brilliant Fanny Bornedal, the  most captivating. Her character is the most complex, and through her, director Ole Bornedal was able to convey the apathy and absurdity that war brings with it. This is a film that needs to be watched for being brutally honest to its subject matter. Again, not an easy watch, but an essential one.

A scene from The Bombardment. Pic credit – Movie Nation

In 2018, I saw a video of a child being rescued from a bomb explosion site in Syria. Both his parents were killed in the incident. Sitting inside an ambulance, he was covered in dust from head to toe. Except for his eyes, everything else was greyed out. The blankness in those eyes was horrifying. Perhaps he was having a meal with his parents, when in an instant his world crashed! His eyes haunted me for days until I decided to put pen to paper.

It was the genesis of my short story Fireworks, which eventually found a way into my debut book Two and a Half Rainbows two years later. It was the story of a toddler and his nanny, and a moment in their life. The child narrates verbatim the stories that his mother has told him about the daily fireworks seen from their apartment window.

This was my way of expressing the angst within me.

They say, war is inevitable. And children, women and foot soldiers must bear the brunt of it. They always have. From the age of the tribal warlords to the age of technocrats. But the question is—if we can tell fabulous stories to each other, that unites us to build spacecrafts, capable of exploring other planets; can’t we tell each other a brilliant story that unites us to end war?

What is that story? I wonder.

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

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

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

poster

By Siddhartha Krishnan . 3 Min Read

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

pic 1

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

cast

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

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

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

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

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

Trailer “Bulbbul”

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

 

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

by whatsonsidsmind

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

poster

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

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

Well, there are 2 reasons for it –

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

It was that good and compelling!

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

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

The Story and Characterization:

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

worldburn-top

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

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

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

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

dailymail.co.uk

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

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

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

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

laugh

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

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

Technical aspects:

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

joker-movie-trailer-breakdown-analysis-stairs-2

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

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

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

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

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

The Acting:

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

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

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

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

laugh 2

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

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

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

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

Verdict:

I would like to end by saying, that the Joker is undoubtedly a masterpiece. If you are still in a dilemma, whether to watch it or not – don’t be foolish and don’t miss the chance to watch it at a theater near you. I will give 4.5/5 for Todd Phillip’s – Joker. It is an engrossing dark character study, impeccably written and masterfully portrayed by its lead actor.

 

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