Category: Short Takes

Posted on

Corpse Collector: A moving memoir of quite heroism

Vinu P’s autobiographical account is a poignant read on how the society views certain professions. The deep belief of Vinu P on the dead deserving equal respect in spite of the numerous trials and tribulations is very praiseworthy indeed. The novel for the most part has a dark tonality, nevertheless there is some light too with some considerate people .

Recently I read a memoir called Corpse collector written by Vinu P and Niyas Kareem. This is not a review; it’s more of an introduction giving an overview. As the title suggests the focus is on a man dedicating his life to abandoned and scarred bodies. In spite of severe social ostracization Vinu P goes about his job with deep compassion. Thankfully he does get some help from the local police who treat him kindly and give respect.

Corpse Collector engages the readers from beginning with the gritty tone. Vinu P’s explanation on why he chose this profession is touching. His deep belief on giving dignity to the dead no matter the condition of the corpse comes out in a striking manner. An important mention must be made of his first steps in becoming a corpse collector. The dead body is of his friend, and the heartbreak is very palpable.

As already said Corpse Collector is not all dark in spite of Vinu P being mostly shunned. This includes a failed first marriage as well. A reason for the marriage collapsing are the lies on which the foundation was built. At the same time Vinu P’s life has its share of positivity too. This particularly comes out in the chapters involving Kerala Police. The Kerala police apart from empathizing also payed him from their own pockets. Additionally, they protected him from goons too.

Mention must also be made of Vinu finding companionship in the form of a nurse called Bincy. How the entry of Bincy changes Vinu’s life gives a sense of happiness. However, the importance of this novel lies in the questions it raises. It lays bare the different contradictions especially the constitutional article 21. When right to dignity is guaranteed should it not be extended to death.

Final word: The Corpse Collector is one of the finest memoirs leaving the readers with different thoughts.

Posted on

Narivetta: A stirring tale of rebellion and coming of age

Director Anurag Manohar and writer Abhin Joseph take a while to find their footing, however they find their feet once the main plot of Adivasis begin. The story unfolds from the perspective of a rookie police constable played by a brilliant Tovino Thomas

Recently I saw a movie called Narivetta streaming on Sony Liv. For those who haven’t seen movie- the story is based on a real life Muthanga Tribal protest in the year 2003. The broad storyline of Narivetta encompasses the themes of land rights, state misusing its authority and the determination of marginalized communities. At the center of the plot is Tovino Thomas’s Varghese Peter.

The movie has a non linear format starting with Varghese running away from cops, they soon catch up taking him under custody. We come to know that Varghese himself is a police and as viewers we become instantly curious. From there we move to the flashback establishing the initial happy go lucky nature of the titular protagonist and how the gradual transformation happens.

A strong aspect of Narivetta is the layered characterization of Varghese Peter; Whether it is his lack of clarity in the beginning portions or the post interval part where Varghese understands the politics of his superior officers headed by Keshavdas (Cheran). How he comes to empathize with the protest of the tribals and stands for them gives the movie some of its best moments. Fighting for the Adivasis makes him realize his true purpose in life.

Tovino Thomas particularly shines during the stand off between the police and the Adivasis. These portions are brilliantly shot by cinematographer Vijay. The music of Jakes Bejoy also adds to the tension. Mention must also be made of Suraj Venjaramood as an empathetic police official Basheer. The friendship between Varghese and Basheer has also come out well leading to some poignant moments. Cheran in the role of grey shaded officer is also striking.

The movie has numerous scenes of police brutality shedding light on custodial torture and illegal detention. The depiction is very raw without any sugarcoating, it makes the viewers uncomfortable raising important questions about the injustices suffered by the marginalized.

Final word: Narivetta is an important social political drama which needs to be seen by one and all. The first half goes somewhat haywire with an additional subplot of a love story nevertheless the second half more than makes up for it.

Posted on

The Case that Shook the Empire: A gripping read about an unsung hero

Kesari Chapter 2 based on the novel does take cinematic liberties with the addition of Ananya Pandey’s Dilreet Gill and also the ending where C Sankaran Nair actually lost the case, nevertheless both the novel and the movie have successfully captured the quest of one man’s fight for justice along with the political environment of the period

The Jallianwala Bagh episode will always remain a major blot in the history of mankind. Many unarmed people protesting peacefully were shot by the army of monster Dyer, till date the scars remain with British refusing to apologize for the dastardly incident. The Case that Shook the Empire for those who haven’t seen the movie or read the novel follows the judicial fight of prominent Indian lawyer C Sankaran Nair (full name Sir Chettur Sankaran Nair. Apart from being a lawyer he was the leader of Indian National Congress too in 1897. Sankaran Nair also served in the viceroy’s executive council. However after the Jallianwala Bagh massacre Sankaran Nair stepped out of the viceroy council fighting a long case against the British authorities.

A strong aspect of this crisp but impactful novel is the depiction of events leading up to Jallianwala Bagh massacre. Writers Raghu Palat and Pushpa Palat have given a context to the mass genocide of Jallianwala Bagh by providing an insight on how Indian soldiers were recruited for World War 1 with large promises, the novel is successful in making the readers feel the pain and sufferings of Indian people much like Kesari Chapter 2 movie.

Special mention must also be made of how the two writers have etched the character of C Sankaran Nair with all his idiosyncrasies, his blunt nature while dealing with people including the Britishers has come out well. On more than one occasion his blunt and strong persona is very palpable. Here it has to be mentioned that Raghu Palat is the great grandson of Sir Sankaran Nair.

The novel also dwells into the ideological differences between Sankaran Nair and Mahatma Gandhi in an impactful way. Both of them were contemporaries with contrasting stand points on the Indian independence movement. Nair openly opposed Gandhi on his non violence stance specifically in the context of Jallianwala Bagh massacre.

The ending of the novel with Sankaran Nair losing the case is heartbreaking in many ways. As readers you wish he had actually won the case like the movie Kesari 2. However that doesn’t happen, yet Sankaran Nair won a moral battle by bringing to light the atrocities of British government. His long judicial battle boosted the nationalistic cause.

Coming to the changes made in Kesari Chapter 2 there is no denying that director Karan Singh Tyagi has somewhat tampered with the novel, having said that the characters of both Ananya Pandey and R Madhavan do add an interesting layer to the movie specifically Annie as the idealistic young woman Dilreet Gill. Her scenes like the cross examination portion gives an edge to the movie.

.

Posted on

Revisiting an underrated gem Khaleja

Some of my thoughts on watching this Trivikram Srinivas directorial in the theatres (earlier I watched the movie only in bits on tv). He has redefined the concept of god through a taxi driver played by a brilliant Mahesh Babu.

The concept of re releases in Tollywood has caught up in a big way. Many older movies are re releasing in theatres today with upgraded technology. A recent example of this is Raghavender Rao’s Jagadeka Veerudu Athiloka Sundari. For people like me who haven’t watched it in theatres or haven’t seen it as a whole there’s a lot to enjoy in how he has created a magical world. Junior NTR’s Yamadonga and Prabhas’s Varsham have also seen a re release in the recent times.

Khaleja during its initial release didn’t have a great run due to many not getting the whacky concept. However over the years Khaleja has achieved cult status specifically for the characterization of Mahesh Babu. The scenes of Mahesh Babu looked upon by a group of people as god and the absurd situations his character finds himself in raises many chuckles even today. Of course the same absurd situations led to the movie backfiring at that time because a large chunk of viewers had difficulty in understanding how a taxi driver can be a god. But if one scratches beneath the surface we will understand Trivikram Srinivas is not talking about the character being a literal god.

For those who are not familiar with the storyline of Khaleja it primarily revolves around Mahesh Babu’s Raju also called as Alluri Sitarama Raju. A series of incidents leads Mahesh Babu to become a saviour for a remote village. This village is suffering from a mysterious disease leading to several deaths. This is the story in brief.

A standout aspect in Khaleja is the redefining of god not as an external element but as an individual persona. The movie goes beyond the stereotypical representation of god associated with temples and rituals. Instead the movie explores god being present in the actions we do, how the god within us comes out when we stand up for people. This is an important message.

Another important theme in Khaleja is that of environmentalism. The angle of illegal mining explores the consequences of unchecked destruction. How unlimited greed is bad for mankind and the environment has been brought out wonderfully through the character of Prakash Raj.

Mahesh Babu’s performance in Khaleja is easily his best act till date. There are many layers to Raju with ample scope for histrionics, Mahesh Babu truly did a swell job whether it is the scenes of bewilderment with Rao Ramesh and Shafi, or the more volatile ones. The sheer intensity which he brings in the action sequences is an example of an actor who can do much more. The same goes for Trivikram who is stuck in the zone of Ala Vaikuntapuramuloo, a staleness has crept into his formula of family dramas which the director needs to recover from. Another highlight of Khaleja is the performances of Rao Ramesh and Shafi. The conviction with which they play their outlandish characters is such a delight to watch. Mani Sharma’s music is a mixed bag with Sada Siva standing out. In fact the songs come across as more of speed breakers disrupting the flow. The romantic track between Mahesh Babu and Anushka Shetty has its moments, particularly the comic scenes, but overall it is patchily written.

Final word: Here’s hoping that Khaleja gets its deserved due in the re release posting good numbers,

Posted on

Zeba (An accidental Superhero): An engaging fantasy

Actress turned writer Huma Quereshi successfully breaks the stereotypes by creating a hijab wearing superhero. The novel has some nice feminist touches along with some social themes

Recently I read a novel called Zeba (An accidental Superhero). When we hear the word superhero what automatically comes to the reader’s word is a superman or batman or even a Krrish. The term superhero is generally associated with male characters, however with Zeba Huma Quereshi has successfully broken the mould. She has created an unusual superhero with strong feminist touches.

Yes the plot troupes aren’t particularly novel especially for those who have grown on western comics but Huma’s seamless integration of serious issues like PTSD, immigration and women empowerment give the novel its own flavor.

The storyline of Zeba focuses on a protagonist who is both rich and spoiled. It is set between 1992 and 2019. Zeba is living a very fancy life in America. As the story progresses Zeba stumbles upon many secrets, one of them is loosing her parents. The second one is she possesses many superpowers and has to save a fictional kingdom called Khudir. This place of Khudir is ruled by her father, he is a big tyrant. This is the story in brief.

A strong aspect of Zeba is undoubtedly the setting of the royal harem. Through the characters of the many royal women Huma Quereshi has broken the numerous stereotypes attached with Muslim women. Here it isn’t just about Zeba fighting against the bad. But the women in harem also play a significant part. They rise above the perception of being meek victims.

One of the most special characters in the novel is that of a royal hijra called Kherun. Through this character Huma Quereshi talks about the pivotal role played by this section of people in the royal kingdoms. Huma Quereshi has written the character in a strong way empowering the role with a strong voice of her own.

Although the novel is called Zeba Huma Quereshi gives equal importance to other woman too making it a wholesome novel.

The characterization of the main protagonist is another big plus. How Zeba goes from being a spoilt woman to finding about her past and the subsequent changes have been interestingly written. A particular mention must be made of her interactions with the tyrannical father.

Through this novel Huma Quereshi also talks about religious teachings being used as a tool to spread hate. The villain called Great Khan perfectly symbolizes this theme.

The ending of Zeba is also pretty interesting. After saving the world from destruction Zeba exclaims that “I’m so tired, man. I hope this is it. This s**t is exhausting,”. Through this dialogue Huma Quereshi brings up the theme of PTSD as Zeba is now looking for therapy.

To sum it up Zeba makes for a good read particularly if you are in the mood for a female superhero.

Posted on

Anuja (short movie): An emotional tale of sisterhood

In its run time of 22 minutes director Adam J Graves subtly touches upon the issue of child labor, however the movie never becomes depressing as the focus is on hope for a better future

Sometimes a short film become a very powerful medium for a director to talk about important subjects. A short movie by nature needs a concise narrative and this can be very helpful for certain directors who aren’t comfortable with the long format of movies and web shows. Anuja directed by Adam J Graves and backed by Guneet Monga, Priyanka Chopra etc has made international waves. Its one of the five movies that has been nominated for the Oscar in the Best Live Action Short Film Category and deservedly so.

The storyline of Anuja streaming on Netflix focuses on two sisters Anuja (Sajda Pathan) and Palak (Ananya Shanbag). Both work in a government factory of Delhi. Things take a dramatic turn when Anuja is given an opportunity of life time due to her strong mathematical skills. It sheds light on the dilemmas faced by Anuja of wanting to break out of the social hierarchy while making sure that she is also able to survive. Through this tale of two sisters the movie gives a glimpse into the dark underbelly of child labor. The movie also takes digs on the nature of matrimonial ads where the focus is always on fair skinned brides.

The best part of Anuja is how it highlights the struggles of marginalized children. Their desires of going to school clashing with the necessity of earning livelihood. This has come out well in the dilemmas faced by both the sisters particularly Sajda Pathan.

The characterization of the government factory supervisor as the calculative villain may across as too predictable but it mirrors the harsh reality. Another striking aspect of Anuja is how it looks at the idea of stealing from the perspective of the downtrodden.

The idea of stealing is generally termed to be bad but sometimes the downtrodden are left with no other option. The exploration of the morality concept in today’s world has come out strongly through this angle. A particular mention must be made of the scene where Palak steals a left over cloth for a reason. She questions the supervisor on why her thieving of left over garments is such a crime.

Both the child actors Sajda and Ananya Shanbag deliver very good performances making the viewers believe in the deep love that the sisters have for each other.

Posted on

Nayanthara Beyond the Fairy Tale: This Amit Krishnan documentary is a pleasant watch particularly for Nayanthara admirers

The details presented in the documentary often come across as curated, still Amit Krishnan does a fine job in exploring her rise to the top while breaking barriers along the way. What comes out strikingly through the documentary is Nayanthara’s mental strength in dealing with heavy trolling, letting the work do the talking

The number of female actresses who have done glamorous roles and have also created a strong image for themselves breaking the usual stereotypes aren’t many in number. Lady superstar Nayanthara is an exception. She has acted with many big heroes like Rajnikanth, Ajith and co but at the same time the actress has broken barriers with strong female centric films. Her market base is as strong as any big male actor. She has earned the tag of a female superstar. Even in big commercial movies like Viswasam Nayanthara’s character comes across as a strong woman.

Nayanthara Beyond the Fairy tale has been in the making for a long period finally releasing on Netflix. This 1 hour and 20 minutes documentary begins with event managers discussing with Nayanthara and Vignesh about the numerous options for their wedding venue. This includes the possibility of Tirupati. From here we go to a flashback of Nayanthara talking about her journey of 18+years. There are also Nagarjuna, Rana, Atlee etc. discussing her qualities.

The beginning portions of ‘Nayanthara Beyond the Fairy tale’ feel a bit flimsy. There is something off with the staging particularly the scenes of the event managers discussing the possible avenues of marriage. But soon the show finds its groove where the narrative shifts to her journey in showbiz.

A particular mention must be made of the part where Nayanthara talks about Ghajini. She reads out a particular sentence from the review of the movie. “An annoying and overweight, whose rolls of fat appear to be doing a Mexican wave across her waist in a song sequence. Ouch!” There is a palpable pain in the way Nayanthara talks about being body shamed and how it affected her mentally.

Right after this part the focus shifts to the bikini scene and her bold avatar in Ajith’s Billa. Director Vishnu Vardhan talks about how Nayanthara built a strong image for herself through this role. Another portion worth mentioning here is the part where Bhardwaj Rangan talks about Nayanthara’s role in the thriller/comedy Kolamaavu Kokila. Again, the importance of this role in breaking the general barriers associated with women characters and Nayanthara’s breakthrough performance makes it one of the best segments in the documentary.

Apart from the likes of Nagarjuna, Rana, Atlee and co you also have Radhika Sarathkumar, Parvathy Thiruvothu, Tammanna Bhatia etc. speaking about the relevancy of Nayanthara in breaking the notions of how a female actor’s star status is always linked to a male actor. The following statement of Parvathy Thiruvothu deserves a particular mention. Nayanthara made moves to assert herself in the movie industry at a time when “being a powerful woman was akin to witchcraft”.

The documentary would have had a larger impact if it had focused somewhat more on the ups and downs of her professional journey. Her love story with Vignesh Shivan is beautifully narrated but somewhat dominates the professional journey which the documentary needed to have more.

As already mentioned, ‘Nayanthara Beyond the Fairy Tale’ feels heavily curated on what information to give and what to hide. As a result, it lacks a wholesome quality which an actress of Nayanthara’s stature deserved.

‘

Posted on

12 Years of Alia Bhatt: From the snooty Shanaya Singhania to the sherni Satyabhama

A brief note on the twelve years of impactful characters that have resonated with audiences of different age groups. Looking forward to many more memorable acts and movies

Alia, you stormed into the viewers hearts with your abundant cuteness on October 19th, year 2012. There was little indication of the powerhouse actress who would capture the viewers hearts in the coming times. Excluding the special appearances, you have done 20 movies so far leaving a significant impact.

Through your characters you have represented different facets of a modern woman. For example, in Dear Zindagi you played an ambitious cinematographer going through a midlife crisis. The turbulent nature of Kiara and the anxieties that she goes through is something that numerous modern women can relate with. The final triumph of Kiara when she finally makes her short movie feels personal.

In Badrinath Ki Dulhania you played a small-town girl Vaidehi with dreams of being an air hostess. The persistence of Vaidehi in achieving her goal and how she doesn’t give a damn about the society’s thinking was brilliant to watch. Also, the line where Vaidehi talks about self-respect being more important than love and eventually marrying Badri only after he changes completely was well written and enacted.

Apart from representing the different facets of a modern woman your characters have also covered different societal issues. For example, Darlings was flawed yet an important movie on the topic of domestic abuse. Your character of Badru represented all the housewives who put up with their husband’s abusive behavior hoping they would change one day. How Badru undergoes a transformation taking things into her own hands was exciting to watch even though the transition was a little abrupt. Kudos to you for backing this movie as a debutant producer.

In the latest production Jigra you pushed the envelope further by playing the role of a very protective sister. The grey shades along with emotional intensity of Satyabhama aka Satya was a treat to watch. Apart from the prison break aspect Jigra also talked about the delayed justice system that force innocent prisoners to take things into their own hands. How sometimes anarchy is the best solution to fight against the system came out wonderfully in the brilliantly shot prison riot. After Darlings and the Malayalam web series Poacher you once again showed your penchant for backing up interesting subjects.

This short note wouldn’t be complete without mentioning the national award-winning turn in Gangubai. In Gangubai your character Ganga aka Gangu represents those girls duped by their lovers and have no option other than to become a sex worker. Your empathetic act represented all those sex workers who like us are also humans with normal feelings and desires.

Posted on

Kottukkaali (The Adamant Girl): Slow paced but a powerful take on silent rebellion

Anna Ben is mostly silent but wonderfully conveys defiance through her body language. Soori as the volatile Pandi shows once again his versatility. In spite of a hoarse voice, he instils terror. But the ending gives the impression of having watched an incomplete movie.

Recently I watched a movie called Kottukkaali (The Adamant Girl) on Amazon Prime. The movie fits the genre of a slow burn. Director PS Vinothraj takes his own sweet time in establishing the narrative. The beginning scenes are ambiguous in nature bordering on tediousness. It can be called as a test of patience particularly for those who prefer fast paced narratives. But soon the movie starts to draw the viewers in, eventually turning out to be a powerful tale. The title of the movie perfectly goes with the main theme.

The story focuses primarily on Anna Ben’s Meena and Soori’s Pandi. We are told that they are soon going to get married. But now Meena is apparently possessed by a dangerous spirit. So, the families of both Meena and Pandi take her to a local goddess and then to Seer who cures people of ghosts. What happens in this journey forms the core plot line of Kottukkaali (The Adamant Girl).

Through this movie PS Vinothraj has subtly explored the dynamics of caste, patriarchy and tradition. He expertly conveys the defiance of Meena with just visual metaphors. For example, there is a scene where the men had to carry the auto rickshaw on their shoulders while Meena is still inside. Meena refusing to get out can be interpreted as her way of rebelling.

Similarly, a hugely volatile scene takes place when Meena quietly hums a song ‘Othyadi Padhaiyila’, that plays in the background of a puberty ceremony. Pandi goes into a complete frenzy as it reminds him of her lover. He gets very angry thrashing people around, but Meena continues to maintain her stoic expression. She is unperturbed. It’s like I don’t give a damn.

Lastly there is also a rooster playing an important role. In one of the initial scenes the rooster is tied to a stone. It manages to escape for a moment only to be caught again. This rooster mirrors Meena’s journey in interesting ways.

The cinematography of B Shaktivel perfectly captures the rustic surroundings adding to the immersive experience. The film has no songs, but the viewers don’t feel the need for any music. The only background music is the engine sound of auto rickshaw.

It goes without saying that both Anna Ben and Soori are topnotch. The character of Meena has very few dialogues, her emotions mostly conveyed through body language. Anna does a terrific job in conveying the myriad emotions with just her eyes. Soori on the other hand instills terror making the viewers scared whenever he appears on the screen. After Vetrimaaran’s Viduthalai Part 1 this is another movie which showcases the Soori (mostly known for comedy) in a drastically different avatar. He is particularly good in the angry outburst.

The ending of this movie needed cohesiveness. Viewers don’t understand whether Pandi has changed. We see a little portion of him introspecting, but the film ends on a very abrupt note. Nevertheless, kudos to actor Sivakarthikeyan for backing this up.

Posted on

Revisiting the gripping psychological horror thriller Tumbbad

Some of my thoughts on what makes Tumbbad special upon its re- release

Much before the Maddock horror universe (Stree 1 &2 along with Munjya) there was Rahi Anil Barve’s Tumbbad, the movie was a gripping morality tale under the guise of a horror/thriller. What made Tumbbad stand out was the director’s portrayal of human greed, the movie portrayed how greed can turn ordinary human beings into monsters. Through this film Rahi Anil Barve showed how these types of men are more dangerous than a cursed supernatural entity.

The movie begins off with a CGI generated sequences giving an insight into the destruction that greed can cause. Tumbbad is an actual village in Maharashtra. The cursed village forms the fabric of this horror tale. The movie is set in the latter half of British Raj adding an interesting layer. In the first ten minutes we are introduced to a woman who looks more like a zombie than a living human being. We see this woman tied up in a remote house. She is mostly seen sleeping and has to be fed period periodically otherwise the situation will become dangerous. One night the duty of feeding falls upon a young boy Vinayak Rao (An excellent Sohum Shah plays the older version). The mother has taken the injured younger brother to a hospital. That particular night becomes an extremely dangerous rite of passage. That very night the younger brother dies. The mother along with Vinayak Rao leave the place, she takes a promise from him that he would never come back to Tumbbad. But Vinayak Rao has made up his mind on hunting for the ancestral treasure. This treasure is guarded by the first-born son of earth goddess and obviously he isn’t going to part with the treasure so easily. This is the story in brief.

There is a famous quote of Mahatma Gandhi on how the world has enough for everyone’s need but not enough for everyone’s greed. This quote perfectly the storyline of Tumbbad. A strong aspect of Tumbbad is the characterization of Vinayak Rao. Vinyak Rao’s obsession of unearthing the ancient treasure is not just about getting the gold but it is also about establishing his manhood. This later also seeps into the son played by Mohmaad Samad. Vinayak Rao is very much aware of his frailties but cannot overcome it. Through his character the director has also covered Brahmin patriarchy, the oppression of women along with greed.

One of the recurring motifs in Tumbbad is use of wheat. When Vinayak Rao first learns of his family secret he is completely covered with wheat flour. Later he uses a wheat flour to tempt a god, the wife is seen running a flour mill in his absence and even in the end the flour leads to the final deciding chapter. One way of interpreting this is that hunger makes human beings do things that they don’t normally do.

The movie is divided into three chapters spanning around thirty years. Rahi Anil Barve along with the story writer Narayan Dharap gave an insight into how upper-class Indian Men paved the way for feudalism and imperialism to thrive. The movie ends with the beginning of capitalism. It subtly hints on how the same social structure continues but with fresh intermediaries. All this makes Tumbbad relevant even now.

Of course, Tumbbad does have its share of flaws too. The middle portions do drag somewhat, also the track of Vinayak Rao and the mistress doesn’t organically jell, the mixture of Marathi and Hindi is also hard to follow but still there so much to like. Sohum Shah who is also one of the movie’s producers was truly brilliant in showcasing the various nuances of Vinayak Rao. He played the cold-blooded opportunist in a fantastic manner. Particularly admirable was his use of body language. Complementing him perfectly is the technical department. Pankaj Kumar captured the wide landscape of Tumbbad admirably sucking the viewers in, Nithin Zihani Choudhary and Rakesh Yadav’s production design also made the movie an immersive experience.