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Bhamakalapam: An Engaging Thriller

Abhimanyu Tadimeti’s Bhamakalapam is an interesting mix of ingredients such as crime, greed and religion. The director pivots his plot on a Faberge egg that is worth 200 cores. This valuable egg has been stolen and later on gets lost again. Apart from making an engrossing thriller the director also makes a statement on how to find god within. The underlying message here is that not to be misled by anyone who uses religion as a weapon. The film also benefits from Priyamani’s spot on performance.

Bhamakalapam begins with an incident that is eerily similar to 2018’s Andhadhun. Instead of the Rabbit you have a lamb that crosses the path and the car meets with an accident. This of course leads to many things. However the similarities with Andhadhun end here. Anupama Mohan (Priyamani) is a homemaker and also a well known Youtuber. She is famous for her videos on cooking.

But Anupama is more than just a YouTuber, she also keeps an eye on what is happening in neighborhood. You can say that Anupama is her ‘apartments Sherlock Homes’. We get evidence of this early on when she tries to expose the extramarital affair of her neighbour. Her detective work backfires and she is thoroughly embarrassed by her apartment people. She also promises her husband that she wouldn’t peek out of the window again; however fate has different plans for her.

Other important members of the apartment include a pastor who is waiting for divine events to happen. There is also a woman called Saira who is a survivor of domestic abuse. Sharanya of Fida fame plays the domestic help of Anupama called Shilpa.

The biggest reason why Bhamakalapam works is due to the intrigue that the director is able to maintain. He builds up the mystery around the egg really well.

https://www.youtube.com/embed/sbrrlQzaezY?feature=oembed Another major highlight of the film is the scenes between Priyamani and Sharanya. Their scenes are filled with comedy and also tension. The duo is particularly good when the characters become unwilling partners in crime.

The religious aspect is also brought out well by Abhimanyu. The theme of certain men misleading people by using religion isn’t really particularly new but the message is still an important one.

The cinematography by Viplav Nyshadam and music by Justin Prabhakaran also add to the comic thriller mood. For example there is a scene where Anupama finds herself dragged into a situation wishing that she had never taken that step. The sound of the violin has been very well used.

Priyamani as I earlier said is spot on with her performance. She gets the nuances of the character spot on starting from Anupama’s inquisitiveness. Saranya as Shilpa is another ace in the story. The actress is good in both the comic bits and also the ones where she needs to show tension. The rest of the cast are appropriate in their respective roles.

Bhamakalapam is an interesting experiment that deserves to be seen.

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Gehraiyaan: It Is Turmoil All Through

It is difficult to categorize Shakun Batra’s Gehraiyaan in one particular slot. It starts off with the theme of adultery in relationships; from there we move to various alleys. There is some corporate drama, an accidental murder and finally letting go of your past. There are too many things that Shakun tries to put in and the result is a huge mess. This mess becomes more apparent towards the end. There are too many unanswered questions, the film ends with a hint of sequel but it would be honestly better if the makers don’t go ahead it.

Gehraiyaan tells the story of four individuals. Alisha (Deepika Padukone) is a yoga instructor with a troubled past. She is carrying a huge emotional baggage. She has a start- up plan to launch a yoga app. Karan ( Dhairya Karwa) is a writer boyfriend of hers who is trying to get his book published. Their relationship is in muddy waters. Alisha’s cousin Tia (Ananya Pandey) is a well- off US returned girl. She has the best of everything in terms of lifestyle and money. Tia invites Alisha and Karan for a short trip and introduces them to her fiancé Zain (Siddanth Chaturvedi). Zain is flamboyant, impressive and also flirtatious. It doesn’t take long for Zain to flirt with Alisha, sparks fly and eventually bodies meet too. What follows is a complex web of human relationships that leaves you completely puzzled.

The biggest issue with Gehraiyaan is lack of strong foundation for the intimate relationship between Zain and Alisha. It all comes across as too fast, as a result it is difficult to be invested in the characters. Also except for Karan and to an extent Tia both Zain and Alisha are difficult to sympathize with.

The drama revolving around Alisha’s pregnancy is not just old fashioned but it is also irritating. She pushes Zain to the brinks of frustration. As a result you don’t really sympathize with the problems that her character is going through.

Zain, on the other hand, becomes a complete bad person, so there is no question of sympathizing with him anyway.

Shakun uses the high waves to show the turmoil of the characters but the issue is that one problem comes after another. Therefore the loud roar of the waves seems continuous without giving us the relief.

The starcast tries its best to make the script work but it is a difficult task given the nature of the story. However there are some emotional bits which work in bits and pieces. For example, there is a conversation between Nassurudin Shah and Deepika Padukone towards the end. This bit is quite effective mainly because of Nassurudin Shah. Ananya Pandey also scores in the few emotional bits that she has, Dhairya Karwa as Karan fits the laid back attitude of the character but he hasn’t got a lot to do.

In a nutshell Shakun Batra needs to take a serious break from adultery and strained relationships; he needs to write his stories better.

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The Great Indian Murder: Much More Than Just A Murder Mystery

Vikas Swarup’s Six suspects was a book which used the format of an investigate thriller to talk about the rampant corruption that runs through in all the systems. The character of Vicky Rai who gets killed in his own party was a just a medium through which Vikas Swarup explored the different facets of our contemporary society. For those who are not aware, the book was about a playboy called Vicky Rai. He is the son of the home minister of Uttar Pradesh. He gets embroiled in a murder case, but he quickly gets acquittal being the home minister’s son. To celebrate his acquittal he throws a party in his farm house. In that party he gets killed by a gun shot. The police arrest six guests on the grounds of suspicion.

Among those who are arrested there is a bureaucrat who claims to have become Mahatma Gandhi. Director Tigmanshu Dullia takes the Skelton of this book and gives it his own touch. There are certain characters in the book which aren’t here but you don’t really miss them as Tigmanshu delivers a mostly satisfying thriller.

The very first episode sets the base for what is to follow. You have a wealthy womanizer Vicky Rai (Jatin Goswami). He has thrown a bash to celebrate his acquittal at his Delhi farmhouse. The party includes family, friends, foes and also quite a few gate-crashers.

Ashutosh Rana plays the father of Vicky Rai. He is a power mongering home minister. Fireworks begin soon after Vicky Rai’s speech. In these fireworks someone has shot a bullet that leads to the death of Vicky Rai.

There are three people who come under the most suspicion for Vicky Rai’s death. One is a slum- dwelling thief (Shashank Arora), another is a tribal who is looking for a stolen ancient idol and lastly there is the former chief secretary (Raghubir Yadav). He is suffering from split personality, due to the split personality he sometimes starts behaving like Gandhi.

There are also other characters that may or may not have had a hand in the murder of Vicky Rai. One of them is Vicky Rai’s own father. Thrown into this mix are a top cop and a CBI officer. These characters are played by Richa Chadda and Pratik Gandhi respectively. Revealing anything more wouldn’t be appropriate since this is a thriller, also there are many mini stories within that are important to the plot.

The most striking aspect of The Great Indian Murder is the grip that writer director Tigmanshu Dhulia maintains for the most part of the show. There is lot of back and forth which is going on, the sequence of events keep on changing with plenty of twists and turns. It is a lot to handle but Tigmanshu makes good use of the Rashomon approach. The underlining theme of the show is the manipulating of evidence for political mileage.

Each character shows a different side of our society. My most favorite one is that of Shashank Arora. Yes, he is a slum dwelling thief but at the same time there is an inherent decency to his character. The trajectory of his role has an emotional touch. His love for Vicky Rai’s sister and how he goes out of his way to help her leaves you quite emotional.

Another character which needs to be mentioned here is that of Raghubir Yadav. His split personality gives the show some of its best moments. The scenes where he switches over to Gandhi are very amusing, to say the least. There are several jibes that the director takes through his character. 

While most of the characters are well written there are also some which could have done with more bite. An example of this is Paoli Dam who plays an actress. She is someone who has been body shamed and also physically assaulted by Vicky Rai. She even goes to a television channel and blasts Vicky Rai with her words. However, she is soon pushed to the background after the first two episodes.

Also the handling of the many tracks slows the proceedings at certain junctures. You can see that Tigmanshu is trying his best to tie up the many subplots, the strain of that shows up more than once.

In this huge ensemble Shashank Arora and Raghubir Yadav stand out the most.

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Bro Daddy: A Watchable Family Entertainer That Never Becomes Memorable

Prithviraj Sukumaran’s first directorial debut Lucifer was a well made political drama within the commercial framework but it wasn’t a film that stayed with you. With Bro Daddy the director attempts a comedy. Just like Lucifer, Bro Daddy also relies heavily on the screen presence of the legendary Mohanlal to make it work. Although Prithviraj has casted himself as the second lead it is Mohanlal who runs away with the show most of the time.

Prithviraj takes the conflict point from the film Badhaai Ho. Just like Neena Gupta’s character in Badhaai Ho here too Meena who plays Mohanlal’s onscreen wife gets pregnant at a late age, the sons in both the films aren’t happy with their mother getting pregnant at that age. However, director /actor Prithviraj Sukumaran doesn’t fully dwell into this topic, he treats it as a mere side plot as the proceedings unfold.

Bro Daddy begins off with a short animation clip. This clip gives the audience a good idea about what to expect from the film. Constant jokes are made about the age gap between father John Kattadi (Mohanlal) and son Eesho John (Prithviraj Sukumraran). The age gap jokes just don’t end here; the audiences are reminded of it at frequent intervals. The reason for the age gap between the father and son is that John and Anna (Meena) had married quite young.

They are waiting for their son Eesho (Prithviraj) to marry. Eesho works as an advertising professional. He is in a relationship with a girl who is also Anna (Kalyani Priydarshni). This Anna is the daughter of John’s best friend Kurian (Lalu Alex). The reason for Kurian naming his daughter Anna too is that once upon a time he wanted to marry Meena’s Anna. However, it wasn’t possible due to certain circumstances. But Kurian’s love for her is still there. Whenever Kurian meets or talks to her soothing background music starts playing.

Coming back to the plot, the parents of both the parties don’t know that their children are having a live in a relationship in Bangalore. Things take a turn when Kalyani Priyadarshini’s Anna gets pregnant and she decides to go ahead with the baby. Eesho isn’t happy with her decision but there is nothing much he can do. Another shock awaits Eesho when his father calls and says that he needs to discuss something important with him in person. What follows are a bunch of comic set pieces, some of them definitely land but there are also certain episodes that leave you with a bitter taste.

One of the things that Prithviraj gets right is the characters of John and Kurian, as John Kattadi Mohanlal oozes charm and vitality in every frame. His comic timing feels absolutely effortless, at no point you feel that the actor is trying too hard. His comic timing and expressions play a major role in some of the jokes really landing well.

Kurian’s Lalu Alex is another character which is worth mentioning here. The core of Kurian is his caged anger management issues. As Kurian Lalu Alex not only displays wonderful comic timing but he also gives a strong performance in the emotional bits.

For example, there is a key scene in the second half involving the big reveal. His hurt at being kept in the dark by his best friend and also his daughter is wonderfully brought out by the actor.

The father and the son equation also gives the film some lovely moments. John Kattadi comes across as more of a friend than dad to Eesho.

The biggest downer of Bro Daddy is the lack of strong emotional connect. This can be particularly seen in the characters of Meena and Kalyani Priyadarshini. Both the Anna’s start off strongly but they are left midway. The character of Esho is also something which leaves a lot to be desired.

The frustrations of Esho are understandable but there is not much development in the character that you see. Before the pre- climax there is a scene where John makes his son understand Kurian’s point of view. However, the transformation feels very abrupt and doesn’t give a complete sense of him having changed.

Some of the comedy bits are too annoying to say the least. Soubin Shahir’s event manager is meant to be a spoof but instead of being amused you feel like fast forwarding.

There is a serious hangover of Priyadarshan’s Hindi fims that you find in the comic style adopted by Prithviraj Sukumaran. This method doesn’t really pay dividends here as the humor hasn’t got that rip roaring quality to it. It is another matter that Priyadarshan himself has become a stale filmmaker over the years.

Watch Bro Daddy if you are in the mood for some light hearted fun but don’t expect too much.

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Yeh Kaali Kaali Ankhein: A Twisted Love Story That Keeps You Hooked

The story of Siddarth Sengupta’s Yeh Kaali Ankhein isn’t particularly new. Love triangles where one person is obsessed with another isn’t an unfamiliar space, here instead of a male obsessive/possessive lover you have a female. But what makes the show click is the treatment. Every episode ends on a cliffhanger which arouses curiosity in the audience. The twist at the end in particular deserves a special mention. It is not only something that catches you unawares but it also sets up the base for an exciting season 2.

This eight episode series is set in the imaginary town of Onkara. The plot focuses on the character of Vikrant played by Tahir Raj Bhasin. His father (Bijendra Kala) works under the powerful politician of that area Akhiraj (Saurab Shukla). Vikrant’s life plan is very simple. He wants to move out of Onkara, get a job and have a happily ever after with the love of his life Shikha played by Shweta Tripathi. But his life turns upside down with the entry of a childhood classmate Purva (Anchal Singh). Adding to Vikrant’s misery she is the daughter of the politician under which his father works. Purva’s obsession with Vikrant had started from school itself and now it has reached a dangerous level. Things take such a turn that Vikrant is forced to marry Purva as a result his life turns upside down. Since this is a thriller revealing anything more wouldn’t be appropriate.

An important aspect of a genre like this is how you keep audiences on the edge of their seat, it has to be said that the director does a splendid job in keeping the audiences guessing. The way the narrative moves between reality and Vikrant’s imagination is neatly done. The director also deserves credit for the way he sets up the story in the first twenty minutes of the first episode. There is no dragging or beating around the bush.

The lights moments have also been smartly integrated into the plot. Most of them involve Vikrant and his family. The son’s desperation to move away and do something with his life and the father’s inability to understand it raise many chuckles. These scenes provide a much needed comic relief from the tense drama.

Siddarth Sengupta also deserves appreciation for the way he shapes up the character of Vikrant. The journey of Vikrant from a small time boy to a man on mission is smoothly done. Because of this the grey shades of Vikrant’s character in the latter half of the show do not feel abrupt. It also helps that Tahir captures the nuances perfectly; he doesn’t miss a single beat. Anchal Singh’s Purva is another big winner. The most striking aspect of her performance is the way she uses her eyes. Every time she smiles at Vikrant audiences feel a sense of uneasiness. She is perfect as the intimidating and unforgiving Purva. In comparison to Tahir and Anchal, Shweta Tripathi’s character doesn’t feel adequately fleshed out. She feels mostly underutilized in spite of being one of the major characters. Her job is mostly confined to being on the run and waiting for Vikrant’s instructions. There is a half hearted attempt to give her some agency but it feels labored. Here’s hoping that she will have a better role in season 2.

Saurab Shukla is an actor who doesn’t need any special introduction. He has proved his worth many times in the past and here too he gets perfectly into the headspace of Akhiraj

The cinematography by Murzy Pagdiwala adds authenticity to the plot. The atmospherics feel real starting from the river Ghats and dams.

Watch Ye Kaali Kaali Ankhein if you are in the mood for a twisted tale of power, love and deceit.

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Human: A Show That Is Going To Haunt You For A Long Time

Vipul Amrutal and Mozez Singh’s Human is a deeply disturbing portrait on how the poor become sacrificial lambs at the secret clinical trials. The people in this case are victims who belong to the families of Bhopal gas tragedy. Most of the medical professionals that you meet in the show are manipulators of different kinds with few exceptions. It is true that the show presents a rather bleak picture of the medical community, however, at the same time the underbelly of the pharmaceutical industry is something which cannot be ignored either. The show is not making a statement that all doctors are evil, it only wants to show how some medical professionals lure the poor in order to test the drugs on them.

The story of Human revolves around a pharma giant that is trying to fast track the development of a new drug in spite of fully knowing its side effects. Kriti Kulhari plays Dr Saira Sabharwal. She lands a dream job in Bhopal’s premier hospital under the mentorship of the famous 45- year old Dr Gauri Nath (Shefali Shah). Saira looks up to Gauri as an inspiration, she feels that Gauri is an embodiment of goodness. However, she doesn’t know that Gauri is not what she appears to be on the surface. Saira grows a lot under Gauri’s tutelage as the two women start to form a deep bond. However, her life turns upside down when a shocking discovery throws her life into a chaos. This discovery is intertwined with that of a young migrant worker Mangu (Vishal Jethwa of Maardani 2 fame). Another important character is that of Roma ma (Seema Biswas). Roma and Gauri share a special relationship.

The most striking aspect of Human is the writing of Mozez Singh and Ishani Banerjee. It is not easy to showcase the ills of a profession that is considered very sacred but the writers do a wonderful job in exploring the hierarchy that exists in our society. They don’t confine themselves to just illegal drug tests, they expand the story by showcasing a number of societal evils. There are many times where the audiences will be deeply unsettled but in a good way.

The Bhopal gas tragedy has also been smartly integrated into the plot. It is not used for mere technicality. The directors deserve a huge appreciation for the sensitivity with which they have showcased the plight of the numerous generations which have been effected because of the gas tragedy.

However, it also has to be said that certain subplots don’t quite land. For example, the lesbian track of Saira feels convoluted and doesn’t really serve much purpose. The show could have also done with some trimming. The last few episodes after Saira’s expose of Gauri feel like a drag. Instead of ten, eight episodes would have been better.

The technical team of Human also does a wonderful job in creating the right atmospherics. The cinematography, production design and background score play a major part in the audiences being invested.

Shefali Shah scores the highest marks for her performance as Gauri. We don’t first see Gauri as a villain but as the show progresses several layers come out. By the end the audiences go from ‘Oh so good lady’ to please someone stop her’. The range that she shows is incredible to say the least. On a personal note can’t wait to see Shefali Shah and Alia sharing screen space in Darlings. It will be a pleasure to watch the two dynamite actresses together.

Kirti Kulhari is also in good form as a woman who is working hard to give her life a meaning. There are many emotional moments where the actress makes a striking impression. Vishal Jethwa is another standout performer. It is a far cry from what he played in Mardaani 2. Unlike Mardaani 2’s character, Mangu is vulnerable and helpless here. The actor does a good job in bringing out the nuances.

Watch Human for the performances and the reality it portrays.

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Harry Potter 20th Anniversary: A Nostalgia Ride With Plenty Of Heartwarming Moments

Harry Potter books are a franchise in itself. No one expected much from the first Harry Potter book but it was a huge success upon its release. It connected with not just children but also adults. The characters of Harry, Ron and Hermione were firmly etched in the minds of the readers. The subsequent books made the characters and also the world of Hogwarts immensely popular. Through her writings JK Rowling made the readers root for these underdogs. You wanted them to win against Lord Voldermort. Along with the three protagonists another very important character was that of Neville Longbottom. Initially it looked like a character for laughs but as the story expanded there were more shades to Neville.

Not surprisingly the seven books were made into movies. Daniel Radcliffe, Emma Watson and Rupert Grint became over night stars. Emma went on to act in films like 2019’s Little Women. On the 20th anniversary of Harry Potter the cast and the crew come together to relive their memories of making these seven films.It is difficult to fit in all these stories and experiences in a documentary film but directors Casey Peterson and Joe Pearlman deliver a reunion which will be liked by all Potter fans.

The highlight of this documentary film is the revelations shared by the three main actors. We see how much they have grown along with the franchise. They perfectly articulate the challenges that the each film gave and how they had to portray emotions beyond their age.Another highlight is the exchanges between the directors and the cast. The directors who appear are Chris Columbus, Alfonso Cuaron, Mike Newell and David Yates. These five men had directed Harry Potter movies at different stages. I particularly liked the one between Daniel Radcliffe and Chris.

Add to that there is also a lot of behind the scene action. These moments work as a cherry on the cake. The sets, the auditions etc will make you emotional.

Finally, the inclusion of the supporting cast also works wonderfully. The moments shared by the men who played Sirius Black, Lucius Malfoy and Dobby in particular are impressive. It is a pleasure to see them talk about what they felt about playing these characters.The one thing which was missing though is a fresh interview of JK Rowling. There is footage of an old one but it would have been nice if there was a new one too.

All said and done, Harry Potter 20th Anniversary is the perfect nostalgia ride for those who have grown up on Harry Potter.

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Year Roundup 2021: Reflections On Malayalam And Tamil Movies

Welcome back to the year ender special. Here I review of films across Malayalam and Tamil. First start with Malayalam movies. You can click here to read my first part on Hindi and Telugu movies as well.

 Joji :

Shakespeare is one of writers who has influenced many directors across the world. His works like Romeo and Juilet have been remade into several languages. In Hindi itself there is Qaymat Se Qayamat Tak and Ram Leela among others. The likes of Hamlet, Othello and Macbeth have been taken into movies by Vishal Bardhwaj.

Joji directed by Dileesh Pothan took inspiration from Macbeth and delivered a thriller that haunts you. The setting of this Malayalam Macbeth is the estate of an influential patriarch PK Kuttapan played by Sunny PN. Kuttapan lives with his three sons, daughter in law and others. From the very first scene we see how powerful Kuttapan is both physically and mentally. Things take a turn when he falls and has a serious injury. This is only the basic synopsis.

The most satisfying aspect of Joji is the equation between Fahadh Fassil’s character and the sister -in –law Bincy played by Unnimaya Prasad. Bincy is someone who is stuck in the daily routine of taking care of men around her. In this woman Joji finds his lady Macbeth. What brings them together is the circumstances and the oppression that they have gone through. Fahadh Fassil was brilliant in the title role but Unnimaya Prasad sprung a pleasant surprise in her role of Bincy.

Kuruti :

The set up of a Home Invasion thriller is something that Hollywood has regularly used. Director Manu Warrier took this set up to talk about a country that is fast slipping into divisiveness. Apart from religious bigotry another major themes of the film were the growing fear of majoritarian sentiment, alienation of minorities etc. Along with director Manu Warrier actor Prithviraj Sukumaran also deserves a high praise for not only acting but also producing it.

The plot of Kuruti is about a plantation worker played by Roshan Mathew. He wife had died in a terrible landslide. Now he lives with his aged father and a younger brother. There is a Hindu neighbor Sumati played by Srindaa. She cooks for them and takes care of the family. One night as Ibrahim and his family are waiting for Sumati there is a knock on the door. An inspector barges in with a Hindu prisoner. The prisoner is accused of accidentally killing a Muslim in the chaos which followed the desecration of a temple. What follows is a cat and mouse game between Liaq (Prithviraj Sukumaran) and Roshan Mathew’s Ibrahim. Liaq is hell bent on killing the prisoner.

One of the highlights of the film was the characterization of Roshan Mathew’s Ibrahim, He is someone who is torn between the religious fanaticism and a sense of humanism. The way the character was built and how he goes to the maximum level of saving the Hindu boy was portrayed with lot of finesse. The ultimate message that Manu Warrier gives is that violence committed in the name of god is a vicious cycle and is never going to stop until the individual takes one for the greater good of the human civilization. Apart from the political aspect Kuruti also worked as a nerve wracking thriller. The director skillfully builds up the suspense with the help of the cinematography and overall technical department. The performances of all the actors added more magic to the film but the ones who stood out are Roshan Mathew and Prithviraj Sukumaran.

Nayattu :

Martin Prakkat’s Nayattu was a socio political thriller which captured the truth of the political circus. It is a film which talked about how we only want a show of justice without any procedural fairness. Who gets justice and who is sent to jail is something which is dictated purely by the political agenda of that time.

The plot of Nayattu is set during the election season in Kerala. The people in the government are busy planning what strategies to use so that they can win. It is also that time of the year where even a person belonging to a lower cadre can give orders.

At the heart of this story you have three police officials. They are Praveen Micheal (Kunchako Boban), Maniyan ( Joju George) and Sunita ( Nimisha Sajayan). The three become thick friends during the election season. Things take a turn when their paths cross with an egotistical youngster who belongs to a political outfit that has significant ties with the government in power. This youngster never misses an opportunity to rub this in the face of the three police people. Following an unfortunate incident Praveen, Maniyan and Sunitha become prime suspects in a murder case. They haven’t actually committed murder. It is actually the case of an unfortunate accident. Praveen tells Maniyan that the youngster should be admitted in the hospital. Maniyan gives in to Praveen’s saying. All hell breaks loose after this.

One of the keys aspects of Nayattu is how it portrays the politics of the general administration which includes the police too. Writer Shashi Kabir makes some strong observations which resonate a lot. It also helps that Shashi Kabir has been part of the police department in real life.

The performances of the trio were also in perfect sync with the story. Joju Gorge and Kunchako Boban were particularly impressive in their roles.

The Great Indian Kitchen :

Jeo Baby’s The Great Indian Kitchen was a hard hitting film on Patriarchy, family and religion. It packed in some uncomfortable truths about the typical definition of a happy household.

The film begins off with the soon- to-be- bride (Nimisha Sajayan) practicing dance even as her parents prepares for the arrival of the groom (Suraj Venjarammodu). This is followed by the wedding of both the characters. Nimisha’s character is very happy as she sets foot in her marital home. Initially everything is fine but the drudgery of household work soon gets to the young woman.

There is a recurring shot in the film which involves the hands of the women as they cook, grind, clean, wipe and sweep. On the surface it looks repetitive but the aim of the director is that he wants the viewer to feel the exestuation of this endless cycle.

It goes without saying that both Nimisha and Suraj are terrific in their respective roles. Nimisha is brilliant at conveying the suppressed anger and the hurt that she feels at her husband’s indifference. Not surprisingly you cheer for Nimasha’s character when she finally takes life in her own hands. Suraj on the other hand is successful in making the audiences hate the character. You feel like going on to the screen and giving him a good shake.

Tamil films

Jai Bhim :

T.S Gnavel’s Jai Bhim is an important film in many aspects. For one it introduced the audiences to the real life lawyer Chandru who had fought for the downtrodden. The case that we see in the film is among the many that Chandu had fought. Director T.S Gnavel did a splendid job in using Surya’s character of the firebrand lawyer. He made sure that the actor’s star power never overpowered the narrative. It also helped that Surya delivered his lines with absolute conviction; it looked like Surya really believes in Chandru’s ideology.

Another significant aspect of Jai Bhim is how it portrays the horrors of custodial torture and the deep-seated rot in our criminal system. The director brought this out in an extremely hard hitting manner. The scenes of the custodial torture are blood curling but they still need to be watched for the way it showcased the reality.

Through the characters of Lijo Mol Jose and Manikandan the director touched upon a tribal community called Irulas . The men and the women of the Irula community are regularly subjected to police brutality. Their only fault is being born as Irulas.

Lijo Mol Jose delivered a breakthrough performance as Sengani. She is so good that you don’t really notice the likes of Prakash Raj and Rao Ramesh. Manikandan was equally effective in his short role. His performance in the first half is particularly praiseworthy.

Sarpatta Parambarai :

I personally liked PA Ranjith’s Kaala more than this one. Kaala was more cohesive with better emotional impact; the female characters led by Eshwari Rao were also delight to watch, having said that Sarpatta is a watchable film in many ways.

For starters PA Ranjith is successful in capturing the milieu of 1970’s North Madras. He transports the audiences back in time. The political upheavals of the mid 1970’s triggered by the imposition of emergency are also portrayed with finesse.

The story of Sarpatta is located long time back but there is certain contemporariness too. This contemporariness can be seen in the portrayal of people battling oppression. Rangan played by Pashupathy is not just a revered coach but he is also a political activist in his clan. In fact more than Arya’s Kabilan it is Pashupathy who stands out. PA Ranjith also did a good job with the boxing scenes. They had an authentic feel to them.

Where Sarpatta faltered was its indulgent length. The film feels way too long particularly in the second half. Also the family drama involving the mother and wife just doesn’t land. The training montage towards the climax also lacked the emotional depth which is needed.

Tughlaq Darbar :

Delhi Prasad Deenadayalan’s Tughlaq Darbar was an entertaining political satire which looked at what if our politicians had a conscience and it stopped from them doing something wrong. This twist made it stand out from other films of this genre.

Vijay Sethupati’s Singaravelan is born during a political rally. He grows up thinking that he’s destined to be a politician. In order to achieve that goal he does everything in his power to win the trust of Rayappan (Parthiban). Singaravelan slowly rises in power and soon becomes a trusted aid of Rayappan. The twist comes in when he has an unfortunate accident that leaves him in a peculiar condition. The peculiarity here is that Singaravelan starts experiencing events where his conscience takes control, whenever he experiences this he is not able to do anything wrong.

The director was most successful in how he explored the dual personalities of the main character. The focus is not on mocking the condition of the protagonist. It is about the inner battles that rages in his mind and how he eventually develops a conscience. Along with Vijay Sethupati’s winning act Parthibaran as Rayappan also contributed significantly.
With this we have come to the end of part II. Once again wishing advanced happy New Year and here’s hoping that we will finally have more a more comprehensive list of films to analyze for 2023.