Tag: Amazon Prime

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Chhorii 2: A gripping story of a dangerous cult and a mother’s fight

The horrors in Chhorii 2 much like the first part comes more from the regressive mindset. The paranormal entities here aren’t ghosts but a certain patriarchal rot and violence being justified under the name of tradition
  • Starcast: Nushrratt Bharuccha, Soha Ali Khan, Gashmeer Mahajani and others
  • Genre: Horror/thriller
  • Writer and director: Vishal Furia
  • Additional writer: Ajit Japtap
  • Producers: Bhushan Kumar, Vikram Malhotra and others
  • Production Companies: T- Series Films, Abundantia Entertainment etc
  • Cinematography: Anshul Chobey
  • Music: Adrija Gupta
  • Streaming site: Amazon Prime
  • Running time: 2 hours and 13 minutes

For those who haven’t seen Chhorii 1 the plot revolved around an eight month pregnant Sakshi played by Nushratt Bharuccha. Sakshi and her husband Hemant are a happily married couple. However due to the debts of Hemant they are forced to move somewhere else. The setting is a secluded place in a north Indian village reminiscent of Haryana. After a few days the husband makes a decision of going back to the city for arranging money. Sakshi soon stumbles upon a deadly secret related to Mita Vashist’s Bhanno Devi. Without giving away too much Chhorii effectively combined the horror elements and the important issue of female infanticide, the acting performances specifically that of Nushratt and Mita Vashist were of the highest order too. The movie is based on a Marathi film Lapachhapi.

Chhorii 1 movie image

Now you have the sequel to Chhorii after a gap of four years. The basic storyline of Chhorii 2 is about Sakshi’s return to the cursed village due to her missing daughter Ishaani (Hardik Sharma). Ishaani is in the grip of a dangerous cult who do demonic rituals. Sakshi is left no other option other than to fight back. Standing in the path of Sakshi is Soha Ali Khan’s Daasi ma (Soha Ali Khan). Soha Ali Khan is a shape shifting priestess in servitude of her master.

The genre of horror gives scope for stories that go beyond the commercial template. A good example of this is Sohum Shah’s Tumbbaad. The movie focused on ordinary human beings turning into monsters in order to satisfy their unlimited greed. It gave a strong message on these types of humans being more dangerous than a cursed supernatural entity. Another good example of horror genre being effectively used is Aamir Kaushik’s Stree 2, in this film the antagonist by the name of sarkate is used to explore the patriarchal mindset reminiscent of our sexist leaders who often blame a women’s modernity for the crimes happening on them. Vishal Furia’s Chhorii 2 is a good addition to this trend of movies.

As already mentioned the paranormal entities in Chhorii aren’t ghosts but a certain regressive mindset justified under the name of tradition. The portions of the patriarchal cult led by the character of Pradhan sends a chill down the viewers spine. Soha Ali Khan’s character of Daasi ma is both a villain and a victim. Villain because she stands in the way of Sakshi, however Daasi ma isn’t just a mouth piece for the activities of Pradhan she is also a victim of a certain kind of training. This layered characterization makes the movie very interesting.

Nushratt Bharuccha and Soha Ali Khan

The camerawork of Anshul Dobey is also of the highest order. The way he captures the underground maze and the numerous struggles of Sakshi through his lens is very praiseworthy. In fact the underground maze becomes a character in itself. The narrow tunnel becomes an allegory representing the societal structures which suffocate women generation after generation.

The main themes in Chhorii 2 are blind faith, misogyny, child marriage etc. All these come across effectively in simple yet effective moments like a young boy’s malicious behavior. An interesting plot device in Chhorii 2 is the major contrast in the stories that Sakshi and Daasi ma say to Ishaani. On one hand Sakshi tells tales of empowerment, on the other hand Daasi ma narrates manipulative stories using folklore as a device to make her submissive. This parallel storytelling adds an interesting social layer to the proceedings.

Talking about the jump scares the film could have done more with intense moments in that department. The eerie atmosphere is suitably effective but the jump scares lack a consistency factor. Also some of the secondary characters have been sketched way too loosely. They fade into oblivion leaving little to no impact. The movie also suffers from pacing issues in the final act and an abrupt ending which feels like more of a set up for the next part.

As Sakshi Nushrratt Bharuccha successfully takes off from the first movie. She does a very fine job in portraying both the motherly warmth and also the strong resolve of a warrior. Soha Ali Khan plays her complex character with the right amount of finesse, her grasp of the local dialect is impressive too. The supporting cast led by Gashmeer Mahajani as a police officer and Sakshi’s ally do a fine job too however the absence of Mita Vashist can be significantly felt.

Final word: Watch Chhorii 2 for its intense depiction of social issues and the acting performances.

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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.

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Angry Young Men (docu series): Rides high on nostalgia but low on professional insights

Ironically for a duo known for their powerful screenplays Namrata Rao’s narration is quite lackluster

August 21, 2024

The duo of Salim- Javed have revolutionized mainstream Hindi Cinema with the likes of Sholay, Deewar, Zanjeer and Don among others. The plots are simple but their ability in capturing the angst of the common man and representing the anger through their writings have made the movies hugely memorable. The docu series of Angry Young men streaming on Amazon Prime is a series of interviews that merge the professional and personal lives of this powerhouse duo. Except for one tiny shot in the final episode both Javed Akhtar and Salim Khan aren’t seen together.

As mentioned in the headline Angry Young Men rides high on nostalgia. A lot of discussion is centered around Sholay, Zanjeer and Deewar. These parts of the documentary needed some serious editing. Nothing new emerges about these movies particularly for hard core movie buffs. However, there is one interesting bit where Javed Akhtar talks about the popularity of Gabbar Singh played by Amjad Khan. Although Sholay had many stars Amjad Khan was the actor who made the biggest impact as a merciless dacoit with no backstory.

One reason Javed Akhtar gives for Gabbar Singh’s popularity is the lack of moral compass. The viewers found it fresh to see an unapologetically bad villain. The centrality of mother figures in their movies also offers interesting anecdotes. Both of them lost their respective mothers at a young age. The female characters of Javed Akhtar and Salim Khan has also been touched upon. Except for Seeta Aur Geeta the writers had never written female oriented movies but still most of their heroines had substantial roles. Lastly it is also great to hear from the master director Shyam Benegal dissecting their popularity. He talks about how the 70’s needed a hero who would clean up the system on behalf of people and the likes of Zanjeer perfectly tapped into this.

One major problem with the Angry Young Men docu series is the overdose of stars. From Kareena Kapoor Khan, Abhishek Bachchan to Karan Johar the frames are filled with way too many people. Half of them don’t add much significance and this includes Amitabh Bachchan too. Amitabh Bachchan owes a lot of his stardom to them but that doesn’t come through. Lastly their writing process has been hardly explored, there is one mention of Salim Khan coming up with the storylines and Javed Akhtar doing the dialogue writing, but even that is superficial.

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Ullozhukku: A gripping drama about human frailties

The torrential rains become a metaphor for the buried secrets resurfacing amidst the grief. Both Parvathy Thiruvothu and Urvasi are exemplary in their respective parts

Ullozhukku written and directed by Christo Tomy has all the characteristics of a plot set against a funeral background. The movie is now streaming on Amazon Prime. Anju (Parvathy Thirovutu) is married to Thomaskutty (Prasant Murali). Although married she is still in touch with her lover Rajeev (Arjun Radhakrishnan). They are having an affair behind the back of Anju’s mother- in law Leelamma (Urvasi). Things take a drastic turn with the death of Thomaskutty. He was suffering from a major disease that eventually took his life. On top of this Anju finds out she is carrying Rajeev’s child few days before Thomaskutty’s death. This is the story in brief.

Anju married to Thomaskutty

A strong aspect of Ullozhukku are the flawed characters, through the various flawed humans the director has touched upon grief, desire, honor, freedom etc. For traditionalists it would be tough to digest Anju’s serious relationship with the boyfriend while being a married woman, however the director has fleshed out Anju’s love in a wonderful manner. At one point she even decides to elope with Rajeev while Leelamma’s family are still grieving. Again, on surface Anju’s actions may across as selfish but as viewers you understand her desperation.

Similarly, even Leelamma has her own weaknesses too. Leelamma has an abundance of love towards Anju but at the same time she is not able to see her daughter- in laws struggles. There are also some casual dialogues regarding class divide flunked by Leelamma in her anger.

Leelamma has an abundance of love towards Anju but at the same time she is not able to see her daughter in laws sufferings

The portions of Parvathy and Uravasi are easily a major highlight of this movie. There is no heavy melodrama yet the scenes featuring them are a treat to watch.

Another character worth mentioning here is Anju’s father played by Alencier. Alencier pretends to be noble but at the same time he cannot stand the thought of his daughter marrying a Hindu.

Shehnad Jala’s cinematography is of a very fine standard too. Through his lens he affectively the tension within the house and also the frames of flood. The music and background score of Sushin Shyam also enhances the movie.

The one minor issue with the movie is that of Arjun Radhakrishnan. His character of Rajeev starts off as an honest lover willing to wait for Anju but there is a sudden shift which feels convoluted. Yes the viewers understand that Rajeev lacks financial security but still the character change comes across as rather odd.

Both Parvathy Thiruvothu and Urvasi are exemplary in their respective parts. Anju is someone who wants to live life on her own terms but still seeks validation from parents. Parvarthy portrays Anju’s vulnerabilities and determination with her trademark intensity. On the other hand, Uravasi effortlessly switches between a loving mother-in-law and also a possessive mother. No wonder both the actresses have won best actor awards at Indian Film Festival of Melbourne and the Kerala State Awards respectively.

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Poacher: This Gripping Ecological Drama Thriller Is A Reminder Of The Need For Peaceful Coexistence Between Man And Nature

Richie Mehta makes a scathing commentary on the human ambition of wanting to dominate every aspect of the world and its repercussions.
Poacher (Malayalam)
  • Main Cast: Nimisha Sajayan, Roshan Mathew, Dibyendu Bhattacharya, and Ankith Madhav
  • Director: Richie Mehta
  • Producer: Alia Bhatt and Prerna Singh
  • Music Director: Andrew Lockington
  • Cinematography: Johan Huerlin Aidt
  • Genre: Action Thriller
  • Episodes: 8
  • Rating: 4/5
  • First Published in: Southfirst

Richie Mehta’s Delhi Crime (2019 and 2022) is easily one of the best web series that has come out in the last decade. Both seasons were gripping, not just as an investigative thriller, but the human drama is equally powerful.

Not surprisingly, Shefali Shah got a lot of acclaim for her brilliant performance. The senior actor got a new lease of life with that show.

Now, the director is back with another binge-worthy show. This time around, Richie Mehta focused his lens on the burning issue of poaching (hunting animals illegally) — in this case, the ivory of elephants being smuggled.

The story of Poacher is based on real-life incidents that took place in Kerala.

Through the eight episodes, Richie Mehta makes a scathing commentary on the human ambition of wanting to dominate every aspect of the world and the repercussions of that on wildlife.

Synopsis

At the heart of its story are some determined forest officers led by Mala (Nimisha Sajayan). Mala’s life mission is to ensure that the poachers are apprehended and paid for their crimes.

A still from the series ‘Poacher’. (X)

She has a deep bond with the forest and the wildlife. She is emotionally driven for a reason, which is better understood by watching the web show rather than saying it.

And then, there are Alan (Roshan Mathew) and Neel (Dibyendu Bhattacharya).

These three officers and a few more people lead an extensive investigation from Kerala to Delhi.

The human–animal conflict and the need for wildlife conversation is a critical socio-political issue that concerns the lives of not just animals but also human beings.

Richie Mehta does an amazing job of making the viewers feel empathetic towards the plight of these majestic creatures.

Running parallel to the investigative drama is a much-needed perspective from the animal kingdom. Some scenes showcase the retaliation of animals.

Through these portions, the director makes the viewers contemplate deeply—even those not passionately interested in wildlife about the potential consequences, if the roles were to be reversed.

Many important questions have been raised about the dynamics between humans and animals.

Analysis

Though primarily a Malayalam web series, there are also segments where the actors speak in Hindi, English and a bit of Bengali. But this switch does not hamper the flow thanks to the captivating narration and the brilliant performances.

Nimisha Sajayan in ‘Poacher’. (X)

This is the second web series of this year after Abhishek Chaubey’s Killer Soup, where the characters alternate between different languages. This is indeed a good trend.

Coming back to Poacher, Richie Mehta also does a wonderful job of exploring the intricate world of poaching.

He talks about how poachers are just pawns in the bigger scheme of things and how the bigger evils are the wealthy dealers and the monstrous human beings who want to dominate the food chain.

Poacher is also technically solid, with particular mention of the cinematography of Johan Huerlin. He does a swell job of capturing both the beauty and the terror of the events happening in the forests of Kerala.

Although Poacher is mostly gripping, some of the climatic scenes could have been done with a tighter edit.

The performances across the board are simply fantastic.

Nimisha Sajayan delivers a spectacular performance by effortlessly conveying the grit and turmoil of Mala.

After The Great Indian Kitchen (2021) and Chithha (2023), this is another powerhouse performance from this brilliant actor.

Roshan Mathew works a perfect foil by bringing in some much-needed lightness. He is very effective in bringing out the humour and sensitivity of Alan.

Dibyendu Bhattacharya’s performance is also top-notch. He brings out the hot-headedness of Neel without any hiccups.

The other supportive characters also shine in their respective parts.

Final take

Poacher is a must-watch on many counts. It is easily one of the best web shows you will find this year.

Richie Mehta did it again with a thought-provoking show, and Alia Bhatt consolidated her position as a quality producer.

https://thesouthfirst.com/entertainment/poacher-malayalam-web-series-review/