Tag / Netflix

by whatsonsidsmind

Homebound Review: A Mirror That Is Both Subtle and Stark

Written by: Siddhartha Krishnan | 5 Min Read

Homebound deals with a heavy subject: discrimination. Not just in one form, but through caste, class, religion and gender, even though caste-based discrimination remains central. It takes a filmmaker of rare maturity to handle such themes with the skill and nuance it deserves. While Neeraj Ghaywan’s directorial debut, the exceptional Masaan was more purist in its approach and leaned heavily on visual language, his second full-length feature, Homebound is more conversational. It rests on deep, lived-in exchanges between its characters.

Although, the film is India’s official entry to next year’s Oscars in the Best International Feature category, it struggled to secure a theatrical release at home. The CBFC ordered 11 cuts, amounting to just 77 seconds, yet enough to potentially blunt the emotional force of certain scenes. Did it dilute the film’s impact? Perhaps. But a film, beyond its hype, its controversies, its festival run, and the reputation of its creators, must still move its audience. It must linger and become a conversation starter. That, for me, is the mark of a great film. And when such films endure, they become classics.

So does Homebound belong in that realm?

The film draws from true events, inspired by a 2020 New York Times article by Basharat Peer. It follows two childhood friends from a small North Indian village, Chandan (Vishal Jethwa), a Dalit, and Shoaib (Ishaan Khatter), a Muslim, who share a dream: to become police constables. They believe that the uniform will become their escape from the poverty, discrimination and loss of dignity that have shadowed their families for generations.

With no college degrees, the police exam is their only opportunity for a different life. Failure means returning to the same manual labor their forefathers endured. The road ahead is unforgiving. Their friendship strains under the pressure of circumstance, while a system stacked against them keeps pushing them back. Yet they do not break. They adapt, endure, and hold on to hope, until Covid arrives and alters their fate in ways they could never have imagined. What unfolds after forms the emotional core of Homebound.

Though sparked by a newspaper article, the screenplay is deeply personal to Ghaywan. In an interview to the Indian Express before the film’s India release, he spoke of hiding his Dalit identity for 35 years. “When you masquerade, your confidence dies,” he said. While watching Homebound, you sense that what plays out on screen is born from lived experience. There is an honesty in the storytelling that you cannot turn away from.

In conversations following its festival run, Ghaywan has been clear that the politics in his films can never overshadow the filmmaking. If that happens, he believes he risks becoming a propagandist. During a Cannes interaction, with the Hollywood Reporter India, co-producer Karan Johar echoed this sentiment, stating, “There is no activism in the film, there is just filmmaking.” Legendary filmmaker Martin Scorsese, who joined as an executive producer and mentor, also spoke highly of the script and of Ghaywan’s craft.

What truly stands out is the film’s quiet simplicity. The narrative is layered and nuanced, yet expressed with clarity. In a film like this, it is easy for dialogues to become preachy. But Ghaywan, along with Varun Grover and Sreedhar Dubey, keeps a firm grip on realism. The film never overexplains its ideas. The scenes feel textured, unpolished in the best sense, and deeply human. This quiet authenticity is the film’s true strength. It does not sermonise. It simply holds up a mirror to society and leaves it there. As an audience, what you choose to see in that reflection is entirely up to you.

One of the film’s most powerful moments arrives when the exam results are announced. Chandan has passed. Shoaib has not. Chandan’s concern is genuine, but Shoaib, shattered and ashamed, cannot receive it as anything but pity. What begins as an argument soon turns into a fight. Yet it is the reason behind that confrontation that reveals who they really are. It is heartbreaking, but also deeply revealing. Until that moment, they appear to have risen above every identity imposed upon them. In this scene, Ghaywan strips them back to their most human selves, grounding the film in its deepest intention: humanism.

Made on a modest budget of ₹3–4 crore, it reportedly took nearly three years to ready the script for production. The shoot itself was completed in approximately two months. That care in the writing is visible in the way the scenes land, and there are several that are likely to linger. The attention to detail, in both costumes and locations, is equally precise. Much of the story unfolds in a North Indian village, filmed largely in and around a village near Bhopal, Madhya Pradesh.

The cinematography is restrained and grounded, never departing from the characters’ world. Every frame feels rooted in their reality. The color palette and lighting choices subtly enhance the film’s shifting moods without drawing attention to themselves.

In a performance driven film like this, the actors had to deliver, and they do so with conviction. At no point do they feel out of place. The two leads, Ishaan Khatter and Vishal Jethwa, bring the artistry, maturity and nuance their roles demand. Even with limited screen time, Jahnvi Kapoor makes her presence felt. Shalini Vatsa in the role of Chandan’s mother, was exceptional, anchoring the film with a quiet, heartbreaking authenticity.

Conclusion:

Homebound speaks to everyone, cutting across class, caste, religion and social standing. It draws the viewer into a world that unsettles, challenges the conscience, and forces a confrontation with uncomfortable realities. Yet, it does so with rare grace and empathy, making the experience feel deeply cathartic rather than overwhelming.

Homebound easily qualifies as one of the finest Indian films of the year and stands tall as a worthy Oscar contender. It has the depth and craft to endure, much like the director’s debut. Whether it will be remembered as a true classic, only time will tell.

Verdict:

IMDb rating – 8/10

My rating – 4.5/5

You can watch Homebound 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 essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).

by whatsonsidsmind

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

Written by Siddhartha Krishnan | 4 Min Read

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

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

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

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

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

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

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

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

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

Verdict:

IMDb rating – 8.4/10

My Rating – 4/5

Adolescence is now streaming on Netflix.

***

About the author:

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

by whatsonsidsmind

Black Warrant – A Prison Drama that Locks You In

Written by: Siddhartha Krishnan | 3 Min Read

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

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

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

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

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

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

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

Verdict:

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

IMDb Rating: 8.1/10
My Rating: ★★★★☆

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About the author:

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

by whatsonsidsmind

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

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

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.

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by whatsonsidsmind

The Sandman-Review | Netflix | A Brilliant Adaptation of a Classic that is not just made for its Ardent Fans

Written by: Siddhartha Krishnan . 5 Min Read

To the unversed, a species that I belonged to as far as The Sandman is concerned, this new Netflix series might seem like a fantasy epic similar to The Lord of the Rings, Harry Potter or The Chronicles of Narnia. But such an assertion may not be fully correct. However, don’t get fooled into thinking that this is a Game of Thrones either! While Sandman’s universe boasts of gargoyles and other fantastic creatures, they deliciously exist only in the realm of where we spend one-third of our life—sleep. Thus, the concept and truths that this web series explores are as deep as our fabulous dreams and our worst nightmares.

The Sandman subverts the fantasy genre in more ways than one, in the end catering more to gothic horror fans than to fantasy fiction puritans. So there are many dark themes explored here with its fair share of blood and gore. But it also has an emotional depth that you don’t generally see in fantasy epics.

Based on the DC graphic novel series written by Neil Gaiman, published between 1989-1996, this screen adaptation was long awaited by its ardent fans. I don’t fall into that category, having discovered Gaiman’s writings only a year and a half ago. But ever since, his style of writing and his imagination have impressed me. He has a way of telling very true things in the most magical and unexpected ways. But I went into this series with little expectation since I am not a big fan of fantasy fiction. My apprehension―how was this adaptation going to appeal to an audience who knows nothing about the Sandman comics?

I was in for a pleasant surprise!

In recent memory, I don’t remember seeing a more precise and compelling opening to a series than this one. In just under three minutes, the concept, the world and the purpose of the story are unraveled.

I was hooked! At least for the first 6 episodes.

The hero, Morpheus, also known as Sandman or simply the Dream, is a god who controls the dreams of humans. We go into his realm to seek freedom and adventure and to face our fears and fantasies. He must control our dreams lest they consume and destroy us. But Morpheus is not a flawless god. He is vulnerable and often needs advice. He belongs to the family of the endless, whose members include desire, destiny, delirium, destruction, death and despair. Three of whom we meet in the first season. These eternal and universal forces have been given anthropomorphic personifications.

The story begins in 1916, when an occultist named Roderick Burgess invokes the god of death to revive his dead son, but mistakenly captures Morpheus. Unwilling to let go of the god he has erroneously taken captive; the Magus tries to seize his powers forcefully. He steals Morpheus’s tools in a bid to get richer. Thus, the lord of dreams is held captive for 100 yrs. When he finally manages to free himself, he realizes that without his tools; he isn’t as powerful as he used to be. So he goes in search of them, to restore balance in the waking world of humans whose dreams have gone berserk. Thus, begins an adventure through many magical worlds, including hell. We travel through a non-linear timeline spanning thousands of years to meet mythical characters like Lucifer and historical figures like Shakespeare. The scale is epic to the point of being overwhelming at times. But it remains for most parts engaging.

Season 1 adapts the first 2 volumes of the comic book series―Preludes and Nocturnes, and The Doll’s house. I found the first six episodes to be the most entertaining. Things move quickly and the themes are mostly dark. The much talked about fifth episode where the character John Dee puts his theory of truth and lies to the test, inside a diner using the staff and customers as guinea pigs, is where the writing is at its best. I am given to understand that the screenplay departs the furthest from the original in this episode. Critics of the graphic novel have said that Gaiman’s writing was the weakest here, where he subscribed to the horror tropes of the 80’s. I cannot comment on that, since I have not read the original, but I can say with certainty, that this contemporary adaptation made for some gripping cinema.

While the world and character building of the show are exemplary, adeptly supported by the CGI work, sound design and background score, the dialogues though did not sit well with me at all times. Especially in the later episodes where things get a bit verbose and sanctimonious. The darker characters have better lines than the virtuous ones. Furthermore, most characters are a shade of grey. There is no clear villain, except for Burgess, perhaps, and the truth is not monopolized only by the good guys.

From the little research that I have done, it was amply clear that while the screenplay writers (David S. Goyer, Allan Heinberg and Neil Gaiman) have been faithful to the original work; they weren’t imprisoned by it. The subtle changes that have been made were to better the original story or to contemporize it. The gender swapping of certain characters, for example, is not a trope but an attempt to give more life to the original characters. To an unassuming viewer like me, though, all of it came across as quite natural.

That brings us to the casting, which is another strong point of the web series. Tom Sturridge as Morpheus is brilliant, bringing the right amount of strength and vulnerability to his character. His physicality and voice were also apt for the role. Among, the supporting cast, I thought, Boyd Holbrook as the rogue nightmare Corinthian, Gwendoline Christie as Lucifer Morningstar and David Thewlis as John Dee were the most eye-catching. Mason Alexander makes a short, interesting appearance in this Season, as the gender fluid ‘desire’, evoking curiosity within the audience about the future of this character.

Considered as one of the most imaginative and intellectually stimulating comics ever made, The Sandman is one of those written materials which was thought to be unfilmable, much like The Life of Pi. It is a rare blend of mythology, history, horror and fantasy which gets the mind ticking. In the end, I think, for the fans the long wait has been worth it. The show has garnered rave reviews from critics and fans alike. As a relatively new fan of Mr. Gaiman and as someone who has not read the original work, I can only say that this Netflix series has all the ingredients to be a long running one. It is a brilliant adaptation of a classic that is not just made for its ardent fans.

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 movie reviews.

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

Ray On Netflix – Movie Review | Revisiting the Short Stories of the Master Storyteller

Written by Siddhartha Krishnan . 6 Min Read

In Satyajit Ray’s short story Bonku Babu’s Friend (1962) a spaceship on its way to Pluto, lands by mistake into a pond in Kankurgachi (North Kolkata). From it emerges an alien, by the name Ang, with slender legs and arms, and a disproportionately large head, wearing a pink outfit covering everything but its face. A shocked bystander, a geography teacher, by the name Bonkubihari Datta is the only witness to this event. Ang manages to befriend its human counterpart, dazzle him with its technology, and fulfill all his wishes. On the surface, this might seem like science fiction; but at its core, this is a human story. Ray cleverly uses the allegory of the alien, to tell the story of a man, who thinks and acts differently from his milieu. In other words, an outcast  —  an “alien” among his friends!

Ray, the auteur, was also a prolific short story writer among other things. He wrote in multiple genres but was most famous for his science fiction fantasies like the Pterodactyl’s Egg (1962), Bonku Babu’s Friend (1962), and The Hungry Septopus (1962), as well as his horror classics like Khagam (1973) and Indigo (1968). His stories were tightly written, highly entertaining, and had elements of fantasy in them. But there was one indispensable quality which was as clear as daylight, and that was his understanding of human behavior and motivations. Ray’s humanism is what elevated his stories from the category of popular fiction into the realm of literature. This is the essence of his storytelling and without it, an adaptation of his classics will be incomplete. It is in this light that I will be reviewing the Netflix anthology Ray.

Forget me not – Srijit Mukherjee’s adaptation of the short story Bipin Chowdhury’s Loss of Memory (1963) is the story of a man’s fall from grace. This modern retelling is darker and more twisted compared to the original story. The director takes you to Mumbai, where we meet Ipsit Nair, the blue-eyed boy of the city’s corporate scene, whose memory is believed to be as sharp as a computer. But this notion is challenged early in the film when a mysterious woman appears before Ipsit and tells him about their first meeting in Aurangabad, which ended up being a short intimate affair. An incident he doesn’t have any memory of! This triggers a series of events that keeps the suspense alive till the end.

The commendable aspects of the storytelling are the camerawork and exceptional set design. The performances too are noteworthy, especially by Ali Fazal who tries his best to deliver a nuanced performance to capture the inner conflict of the lead character. But the film falters in its writing, and while you are intrigued by what is happening to Ipsit, you do not fully connect with him in a way that you end up either hating or empathizing with him. The film is entertaining but it could have been a lot more if it had sacrificed a few twists in the tale and invested that time in adding much-needed layers to Ipsit’s character.

Rating – 3/5

Behrupiya – Based on the short story Bohurupi, Srijit Mukherjee’s second film in this anthology is about a makeup artist, too timid, to confront the cruel world. But he finds a way to get back at the people who have wronged him by using the masks he has created as his armor. But will he succeed?

The film is set in the dark underbelly of Kolkata, and again Srijit manages to make a visually stunning film. This is also the darkest film in this anthology and the protagonist Indrashish’s character is perhaps the most complex. But, here too, the film falters with the writing, and with a skillful actor like Kay Kay Menon in the role of Indrashish, a lot more could have been achieved to show the mental conflict. Instead, the film becomes too verbose as it progresses. This for me was the weakest film in the anthology.

Rating – 2.5/5

Hungama Kyon Hai Barpa – Directed by Abhishek Chaubey and based on the short story Barin Bhowmick’s Ailment (1973), this film is widely regarded as the best in this anthology. In this adapted version, a vivacious ex-wrestler and a seemingly poised but self-absorbed ghazal singer, meet on a train journey. The conversation that takes place thereafter unravels the story through a non-linear narrative, and the audience is made to believe that these are two very different people. But are they?

With two powerhouse acting talents, Manoj Bajpayee and Gajraj Rao on screen, we are in for a treat. And they deliver, with their comic timing, and exemplary understanding of their craft! The director pays a near-perfect tribute to the master storyteller, with a generous dose of surrealism, and an ode to his frames. The imagination and execution were both immaculate. All through the interest of the audience is kept alive, by not indulging in excesses and sticking to the essence of the original story in this modern retelling. This is a film that is bound to leave a smile on your face at the end of it.

Rating – 4/5

Spotlight – At a little over an hour, director Vasan Bala’s adaptation of Ray’s short story Spotlight (1983) does test your patience. Also, this is an unusual adaptation, drifting the furthest from the original story in this anthology. But, the consistent caustic humor and a sprinkling of magic realism in the narrative manages to take the audience on a trippy ride.

At the forefront is a famous actor whose only claim to fame is a stare that he has been able to master. But he suffers a blow to his ego when he is confronted by a religious cult leader lovingly called “Didi” by her followers. Her popularity far surpasses his, which sends the self-centered actor on a path of self-discovery. What we get in return through the subsequent soliloquies is a homage to the master storyteller, through some interesting imagery and intelligently written dialogues. Also, through the social and political commentary, blended cleverly into the screenplay, we hear Ray’s voice but in a modern cinematic language. This was a brave film to make and the outlandish climax scenes justifies this statement. However, despite the evident departure from the original story, it still manages to preserve the essence of the original. This for me was the best of the lot.

Rating – 4.25/5

Overall Rating – 3.5/5

In the words of Charlie Chaplin, “the deeper the truth in creative work, the longer it will live”. The stories of the Aesop Fables, Panchatantra, and Arabian Nights have stood the test of time for precisely this reason. Through fiction, the greatest writers of the past, and the present have been able to convey truths about humanity. Ray is undoubtedly one of them. However, if his stories have to truly cross over to all cultures within India, and not be limited to the bookshelves of bibliophiles then such adaptations are necessary. These stories are for mankind, and they need to be told.

In the distant future, if an alien were to visit our planet after we were gone from it; I hope it discovers a scrap dealer’s shop like “Roohi Safa” (just like Musafir Ali did in the film Hungama Kyon Hai Barpa) which houses a rare collection of Satyajit Ray’s short stories. The book may not serve its purpose for visiting Earth, but the visitor is sure to gain an understanding of how we humans thought, and what our aspirations were through it.

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 movie reviews.

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

Paava Kadhaigal (Sinful Tales) – Movie Review | An Essential film about a Sinful World that we have Created

Written by Siddhartha Krishnan . 4 Min Read

The trailer of the Netflix anthology ‘Paava Kadhaigal‘ promises four gut wrenching stories, and it delivers. However, this isn’t a celebration of pathos nor an overplay of grotesqueries. It’s a film that mirrors the evils that we have created, nurtured and stood by. It shows that the systemic problems and crimes that flourish in a patriarchal order, have put the victim and the perpetrator in a vicious circle, that is difficult to come out of. The film manages to shock you because all that you have considered safe—like your house, your family have become nurturing ground for evil. And, while we think that this will not happen to us, we are certain that this has happened somewhere. It’s this realism which keeps you at the edge of your seat throughout the film, despite its apparent flaws.

Four talented filmmakers have come together to tell these compelling stories, while lending their unique voice to it. Hence, even though there is a common thread— ‘honour killings’, the stories as well as the storytelling are all different in its own way.

In Sudha Kongara’s, ‘Thangam’ (My Precious) a transperson harbours dreams of a different life for which he has been saving money. He is unapologetic about his identity so, he is unaffected by the noise that surrounds him. But things don’t work out as planned and the ones out to cut his wings are his own. While the film resorts to melodrama at places, it still manages to convey the anguish in a way that will linger. The performance by Kalidas Jayaram in the lead role of ‘Sathaar’ was exceptional. The cinematography by Jomon T John and music by Justin Prabhakar also elevate the film considerably.

Vignesh Sivan’s ‘Love Panna Uttranum’ (Let Them Love) is a film about two twin sisters out to break the news of their choice of partners to their politician father, whom they believe has changed over the years. Although, dark humour is the chosen tone for this film, it addresses the deep-rooted problem of casteism while exposing the hypocrisy that pervades it all. In the end, is there really a choice, the film asks? The writing of this film could have been tighter, especially the end which felt a bit abrupt. The performances by Padam Kumar in the role of ‘Veersimman’ and Jaffer Sadiq as ‘Mr. Narikutty’ deserves a special mention.

The third film ‘Vaanmagal’ (Daughter of the Skies) directed by Gautam Vasudev Menon is about a traumatic incident that happens in the life of a closely knit family and how things spiral down from there. The film explores how even so-called regular folks can be driven to insanity by the noise that society creates, thereby, clouding their reasoning and testing their morality. The ending of the film will shock and then soothe in equal measure, which is a result of some clever writing. Simran in the role of the mother ‘Mathi’ does full justice to her part and the music by Karthik creates the desired impact.

The last film ‘Orr Iravu’ (That Night) directed by Vetri Maaran is perhaps the most difficult film to watch in this anthology. While this is clearly the director’s comfort zone, he surely brings on his A-game. It’s a slow burn which gradually proceeds towards a sudden switch that works like a magic trick. From there on, the scenes become nauseous to watch, as the director shows his craft as well as the power of this medium. The performances by Prakash Raj and Sai Pallavi, are going to be talked about for years to come. The cinematography by S. Suresh Bala and sound design by T. Udayakumar was stellar. This was a near perfect film.

If you are to review these films from a pure filmmaking perspective you might find a few flaws, here and there, especially in the writing in some of them. However, what is not questionable is the honesty with which all of these directors have approached their respective films. For some it was a clear departure from what they usually make. However, together, they have been able to ask some important questions without being sanctimonious with their messaging. For this reason, ‘Paava Kadhaigal’ is an essential watch. It throws in all the requisite punches, making you feel uncomfortable at places but keeping you engaged till the end. The film deserves a 4/5. Watch it on Netflix.

Pic credits: the hindu, koimoi.com, quint, binged.com, imdb and pinkvilla

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.

All rights reserved by whatsonsidsmind.com