Tag / Movie Review

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

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

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

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

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