Home Movies The Bhramam Review – Movies Rediff.com

The Bhramam Review – Movies Rediff.com

The Bhramam Review – Movies Rediff.com


Every film that Sriram Raghavan makes is a collection of ideas and sensations that tickle him.
Trying to remake Sriram Raghavan’s film is like getting goosebumps, notes Srihari Nair.

Ravi K. Chandran bhramam dull, but he is also dull in a strange way. In this official Malayalam remake of Sriram Raghavan’s novel Andhadhunevery moment ripped from the original film feels like a cheap imitation, and every deviation from the original film feels like an unnecessary distraction.

At least for a while, I felt sorry for the brains behind the project. Imagine taking on something that appears to be cursed by the very muses that inspired it!

I was sorry for a while, and then it dawned on me, but of course, this is a feature of Sriram Raghavan. He is a special mixture, the “version” of which cannot simply be.

Personal information is important. Here is a man who buys his own vegetables, and also invents vile men and women engaged in vile enterprises. Here is a bachelor who tells us stories about weirdos looking for unusual and impractical ways to calm down.

As with his personal details, the very banal and very grotesque mixing in his films creates the atmosphere of Sriram Raghavan.

Setting most sinful events in Andhadhun the house in Pune, ready for redevelopment, had a touch of Sriram Raghavan.

Staging a searing revenge drama in the city of Badlapur was also a touch of Sriram Raghavan.

How about imagining the avenging angel from this film as a figure rolling in the rain to the sounds of Marathi? bhavgith? Well. Again this touch.

Killer in Johnny Gaddaar ideas for concealing the murder committed by him draws from Parvana — from all the films of Amitabh Bachchan, Parvana!

Sriram Raghavan is what Mysskin fans are believe be their idol. In Myskin, however, this mixture of the most banal and the most grotesque, this intertwining of lofty and low motifs seems to be an affectation, a cover for bad technique and terrible sentimentality.

For Raghavan, mixture is art itself, the very wedge of consciousness that he drives into experience.

That is why it is absurd, even stupid, to leave bhramam and state, “Oh, Raghavan did it better.”

Did This is it is better?

Andhadhun *was* Sriram Raghavan; because every film that a man makes is a collection of ideas and sensations that tickle him. Trying to remake a Sriram Raghavan film is like worrying about someone else’s goosebumps.

Dear reader of this review, what I am trying to imply here is that we have a Sriram Raghavan film narrative to contend with, but without his specific illness, without the Sriram Raghavan film’s supporting fever.

So, I thought, instead of pushing you with statements like โ€œthe story crashes in the second halfโ€, let me try to point out how the style of the original picture created its moral, how certain decisions in it influenced the cast. what makes the difference, and why, unless you can find a way to imitate the spirit of a special movie, you shouldn’t try to speak in its voice.

You don’t think too badly of Mamta Mohandas’s turn in bhramam (like Simi) if you don’t understand the exceptional quality Tabu brought to the role; what Taboo brings to every role he plays.

What it is?

It’s the ability to infuse your characters with a light and interesting depression, a longing that is not obscured by the lessons of modern psychiatry (love yourself, hug trees, watch Marvel movies).

Escape through Simi 1.0, who opened doors while still in the agony of sex, who faked calls, who faked love, fake status, was Taboo’s natural fatalism that became the lifeblood of the character.

When Simi of Mamta Mohandas freezes live crabs, she appears to spare them; in Andhadhun the crabs seemed to have been anointed by the cook’s own grim existence.

It’s not enough to classify a hero Andhadhun as an unreliable narrator; because he was so much more. He was also an unreliable storyteller, eager to support himself in the story he was trying to tell. Akash’s opening monologue sounded like a bully from a Saul Bellow novel talking about his life’s philosophy in lofty but comical terms.

opening monologue in bhramam sounds like catalog excerpts written by the person who did it, overcame obstacles and made it! No wonder this man, Ray Matthew, is played by Prithviraj.

Anil Dhawan as the victim is part of a casting whose power multiplies as you watch bhramam. Our knowledge of the near obscurity Dhawan was thrown into and the inserts of those now obscure songs he once sang with a fluttering heart combined to define the sad comedy of his character arc.

Shankar, who played this role, was, despite everyone’s intuition, a real star. The truth about an actor’s one-time success undermines the illusions and excessive grandeur of the character he plays.

Coming out of Radhika Apte, the lines ring like inspired improvisations. Apte has the remarkable ability to allow a character to experience a traitorous experience, assuming she knows she is being played. This gift of implying a submissive mind that tracks itself was crucial to Sophie’s attraction. Andhadhun alive and make her seem like more than just Akash’s toy.

AT bhramam, Raashi Khanna conveys this character “systematically” (the whole film is systematic to the point of failure), but burdened with direct translation of dialogue from the country of Raghavan (dialogue that does not fit well with Malayalam intonations), director Ravi K. Chandran has no way to make her part of the screen breathe. except through reaction frames, through quick cuts. And this is not the same as Apte showing us in real time what a crumbling psyche is.

Manav Vij playing the insensitive lover/murderer/lawyer as someone who draws his ingenuity from his cruelty was another stroke of genius that I only came to in hindsight. Unni Mukundan in this part looks like a person who has too many feelings, and he does not have the talent to express them. Again not the same!

When these misused gems are together in a scene, they don’t react to each other, oh no. They are too loyal to a page photocopied from a page where a genius gangster once poured his mind.

However, there is a great benefit bhramam performs for us; and it is that it offers us the opportunity to study in detail the craft of Sriram Raghavan. Beyond the particular blend that creates his sequences, explore how he manipulates time in a sequence, how he distributes the energy of a sequence among his players.

In the masterful scene in Simi’s apartment where the pianist (feigning blindness) discovered the murder and watched the body being disposed of, the protagonist’s perspective was the anchor, and yet you got the energy of the whole setting – the comedy and the practicality and sadness of it all are accentuated by the sounds of the piano .

When this scene is recreated in bhramam, what are you getting? Tight close-ups of Prithviraj’s face and everyone else in miniature, so that the breath just flies out the window, and the notes lose their sharpness.

Letting go of the wet look Badlapur (somehow roaming evil), Raghavan and his cinematographer in Andhadhun, opted for a playful look, a world view in which the softness of lovemaking has turned into a breakfast scene. And yet there was a masterful sloppiness of the villain in this film.

Here the camera either freezes presumptuously, as if sighing sincerely, or rushes about with some unnatural vitality, as if a moment of irony is forcibly smeared with ink.

What could be worse than hackers rethinking the work of a genius? It is a rethinking of such work by “thoroughbred professionals”, those who act like studio athletes, those who only deal with performance issues such as: who should we play the femme fatale? Who can play the former? What is the best location in Fort Kochi for neo-noir? What cute actress would suit the female lead? What major star would help fund this project?

bhramam this is the work of purebred professionals and I fear that these professionals are taking over the reins of the Malayalam film industry from artists. And in the midst of the blind praise that pours out on the industry as a whole, the necessary critical distinctions are not being made.

Some of us predicted the emergence of the Malayalam New Wave around the time Maheshinte Pratikaram and Angamalian diaries. But we knew that this movement began with the Malayalam films of the 1980s and 1990s, many of which were also considered “overrated” and “problematic” and therefore questioned. based on nostalgia and a large part of it on indignation).

We also knew that this Malayalam New Wave, like the French New Wave of the 1960s, would be led by no more than eight or nine prominent names.

The names of Dilesh Potan, Lijo Jose Pellisseri and Siam Pushkaran will stand out. This was the disappointment of Rajiv Ravi and Aashik Abu. It would have the impatience of Fahad Faasil and the enthusiasm of those nameless actors who may not have the versatility to play any part but can play that role better than anyone in the world.

The Malayalam film industry salute is an industry in itself today. And many dukes and duchesses have found that careers and intellectual gains can be made by sweeping praise of a Malayalam film, not for its artistic vision, but for the mere fact that it is a Malayalam film, or for sucking up to such dull subjects, like the Brotherhood of Man and the Denunciation of the Patriarchy.

The result is a glorification of mediocrities like Malik, Mouton, Jallikattu, Uyareand lifting type soap Drishyam 2 to the level of a great moral fable.

And now, with bhramamwe seem to be back in the dark 2000s when cinemas in Kerala were filled with boring remakes of Hindi blockbusters.

At the moment, what would a lover of good mainstream Malayalam cinema make of himself?

I know many who feel the same way as those traditional African mask makers who, looking at their heritage adorned with fake descriptions on museum walls, or flaunting high society women at balls, are morbidly, perhaps mean, and without a sound economic mind. . want their artworks to return to their provincial past.

But from universal love, I suppose there is no return. It is on foreign shores that a new wave is destined to dissolve.

Rediff Rating:


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