Kuruthi

 Kuruthi

2021, Malayalam, Amazon Prime, 7.9/10 IMDB, Directed by Manu Warrier

The movie's plot initially seems to house stories of the severed families of a tragedy. It reminds us of the recent monsoon floods that left buried 49 plantation workers of the God's own country. When the director chooses to reveal the tragedy through minimal visuals, you are informed that its just a sub plot. The plot further narrows to the lives of the handful of families, who refuse to relocate and leave the ecologically fragile danger zones, only so they could cling to the memories of their loved ones.

The makers choose to narrate the story through distinct characterization, to make it veridical. Each of the tight closeup shots, justifies the character's traits in reflecting the social setup and which larger sector each of them represents. Surprisingly it goes for the props even, as they seem to have character arc as well- for example the 'wasp nest'.

The making reminds of Lokesh Kanakaraj's in his movie Kaidhi, which is a similar invasion thriller. But the characters bearing the effects of the societal affairs makes 'Kuruthi' a different experience altogether. Again, the film doesn't dwell on heroic moments, but lets one contemplate on whom to root for and even turns the viewers 'Law Lords', to pass a verdict of their own.

Roshan Mathews playing Ibru, through whom the narrative unravels and whose believes are the ones that are challenged by rest of the characters- his story seems to be the crux of the film. Until, Privithiraj playing Laiq appears out of nowhere in to the invasion scenario and steers the story. The soft-spoken Suma, the neighbour, choose to vent out her opinion on the killing of someone who desecrated her place of worship takes the steering wheel for a while leaving us ponder on the thought that while trying to stay true to the religious believes, we do chance upon such dilemmas as that of Ibru and Suma in the secular setup.

With every religious belief being given newer dimensions and interpretations, the viewers are made to sway on their own perspectives as well. The dialogues resonate those of the 'TV time' discussions in every household - the pros and cons of the policies and its impact on the people including the minorities. The film dares to highlight issues we don't often speak on any forum. We even would tread with caution while speaking to the close circle of ours as we brand those 'Sensitive'.

Since the storyline is about the religious animosity, in the corner of the mind one is surprisingly induced to correlate the actor's real life beliefs and wonder how interestingly they are made to play characters that are extremely different from their own. The adroit casting of interchanging the actor's own religion to the role that they carry on the screen is another strength of the movie and the viewers are made to witness each of the character, voice the grievance that isn't theirs in the real life. 

While the makers chose to 'Tell' using dialogues to substantiate what they intended 'To Show', it does end up becoming preachy in few instances. The cinematography becomes particularly difficult in home invasion thrillers especially when it is a small premise. But the color scheme and the visuals of the nature, balances the claustrophobic sequences.

The maker's intention which is to bring out the perspectives of the people in conflict, succeeds to a great extent. A venture to unshackle the vicious circle that instigates fanaticism and extremism through personal agony, does derail with the indecisive 'open ending' of the climax leaving the viewers to make their own decision. It makes the film vulnerable to be misinterpreted as an approval for violence, as I feel I represent a minor group who might have visualized a positive ending - Young 'Rasool' might drop his weapon and spare 'Vishnu'.

I was left with a wistful smile on my face as I was recollecting the metaphorical opening sequence of the little girl of Ibru begging her dad not to kill her pet 'goat kid' which has been grown with 'love' only for it to be 'killed' - explaining the title Kuruthi, which translates 'ritual slaughter'. 

Sarpatta Parambarai

 Sarpatta Parambarai

2021, Tamil, Amazon Prime, 9.1/10, Directed by Pa. Ranjith

'Float like a butterfly, sting like a bee. The hands can't hit what the eyes can't see'- the director not only uses these quotes of the American Professional Boxer- 'Mohammed Ali' in the film but also derives his inspiration from the legend's political activism in layering the tale of the suppressed community within the sport. The narration is about the leap of an individual from being a lover of the sport, to making it big in the same sport-all this for his respect on the coach, whom he had lionized while growing.

A 'Hulk' bodied 'naive' Arya in a period film- its inevitable not to think of the actor's similar character in the decade old 'Madarasapattinam', but a few minutes in to the film, assures that this is a completely different body of work from both the directorial perspective and the etching of the character. Arya scores with his lean-ripped physique, gracefully adapting Mohammed Ali's classic foot work and nailing the master's 'lean back defense' technique. The actor does score in couple of emotional scenes expressing his 'fear of losing' like a school kid and it sure is amusing to see the muscle man cry like a toddler.

The actors seemed to have surrendered themselves to the director and its Ranjith's presence that is felt in the backdrop of every sequential choreography. The fact that the director choose not to depend on props and uses the political scenarios like the emergency of 1975 and the DMK party's dissolution, to hint the time period is intriguing. But the director never misses his opportunity in making the voices of the suppressed heard through the 'self-respect' lyrics that urges to 'rewrite history' and 'use every opportunity that comes their way'.

The drama of a mom restraining her child taking the macho sport because her husband turned a goon because of it and later she insisting her son take back the same sport, for it might help him get out of his addiction- plays well onscreen reiterating the significance of sports as a deaddiction tool. A much-needed solace amidst the recent murkier news reports of the wrestling world's involvement in crime.

The seasoned theater artist Pasupathi's subtle mannerism of a bulged neck muscle and the drooping shoulder that's unique to boxers and trainers adds so much life to the character. The rigorous dialect training and boxing training that seems distinct to every individual boxing character is strikingly evident. The dialects at some places are so complex that it does needs decoding even for the Tamil audience, thanks to the OTT's subtitles.

The Dancing Rose character, played by Shameer Kallarakkal, is inspired by the likes of Emanuel Augustus who was called the 'The Drunken Master'. The bodily movements that confuse the opponent were well illustrated, a little dramatically though, but never failed to amuse the viewers.

'Daddy' character, is undoubtedly the life time's best for actor John Vijay. The actor savours playing it and its visible onscreen. So did the women folks Dushra, Sanjaya and Annupama Kumar, like in all Ranjith's films, women have clear demarcating characterizations that enhances the onscreen relationships of characters.

Kalaiarasan's character 'Vetri', as the son of the coach, who thinks his father deliberately lets him down- is a complex one, which the actor surprising plays with ease- the way he emotes the dejection, the moment he spits venom, his innate goodness and the love for the sport, involuntarily comes forth, making good all the evil he intended.

The combination scenes of the characters are the strength of any Ranjith film and this one is no exception. The untold respect between Rangan Vaathiyar and Kabilan an earnest student who had never been his direct student, the vigilant mom and the shielding wife, the unique relationship of the loser husband Vetri and his defending wife, the very brief expression of Pasupathi when his wife holds his foot on insisting him to have more food after he is released from prison, the way Pasupathi walks into the auditorium for the finale and how he enters the ring to hold Arya's face and claim how wrong he was for not choosing him to play against Vembuli- such a tear jerking coach and student moment.

The north madras milieu just sets the right mood and the 'not so loud' mise-en-scene elevates the scenes, be it the harbor, the clock tower, the boxing ring, the women with two nose rings, (a hallmark for all women folks in Ranjith's films), the commentary of Vijay TV fame Thangadurai, it is a time travel experience indeed.

The stirring sequences of the nights before all the main board matches were a compelling watch especially the final match. Arya and his wife spend the night in the middle of the sea while Pasupathi is sleeplessly walking and waiting for it to dawn. The wealthy boxer Raman is contemplating at his house on how to handle the victory of a co-contestant, if Kabilan wins. And when Kabilan does win, the director elaborates what 'Victory' is and how it is cherished- a celebration for the commoner, a dedication to the clan's coach, a proud and undeniable milestone for the people of the same clan and a true sportsmanship by the opponent in gracefully accepting his defeat.

A treat to watch a realistic drama that brought to light an untold story and many fresh talents. A true sports drama that wipes away the cliche surrounding the boxing movies of the industry's recent attempts of Ravi's and Karthikeyan's, with only a few exceptions that spoke the art behind the game, like 'Irudhi Sutru'.

The rationalizations are plenty as in all Ranjith's works, but some makes you think deeper. The one that persistently bothered me for a long time after the credits rolled was, what Kabilan's wife Maariamma ingeniously asks- 'Why does one associate 'Pride' with 'Clan', for it's only a sport and what if one loses'? On a reflective thought process relating to larger picture, it does make lot more sense, I thought.

Dheepan

 Dheepan

2015, French, Netflix, 7.2/10 IMDB, Jacques Audiard

A honest hard-hitting story on political asylum seekers, that leaves you dumbstruck with its authentic representation of the predicaments of the unfortunates, whose pain we pretended to be 'aware of' all these days. The winner of the Palme d'Or at the 2015 Cannes, showcases incredible talents on screen and behind lenses.

Many rooted filmmakers and writters had ventured on a theme that is similar to Dheepan- a portrayal of the lives of the asylum-seeking refugees. But Dheepan, is Cinéma vérité, a technique that is predominantly used in Documentary films- to use the camera to discover the buried truth of the crude reality.

Yes, the premise does sound tedious- the consequences of the 26 years long Srilankan Civil war, the clash between the Government forces and the armed militant group that proposed a separate state in northern Sri Lanka called Tamil Ellam. But the film zooms-in on the aftermath of the war, the scars that were left behind, the irrevocable loss of life and livelihood. The strength of the film uniquely lies in its concurrent journey that walks with 'them'- The Refugees.

The dilemmas they face and the humiliations they bear for no mistake of theirs, constitute the crux alright, but its narrative in connecting their pulsating pain one after the other, is what absorbs the audience. The amount of research that had gone in to the project, is evident in the seamless screenplay. A simple opening of the film to a post war refugee camp, feels eerie, as the scene keeps widening to represent the magnitude of torn families.

The awed admiration on the three lead actors including the teen girl, never ceases, as they seem so convincing. Not in one shot, you have the slightest thought they are merely emoting on the director's instruction, as their pain seems almost tangible. When the credits roll, you understand the lead Anthonythasan who plays Dheepan, is an author and a real life LTTE member, who had undergone training and that describes all the pain in his eyes, which seemed real for 'it is real'.

The same goes with the female lead Kalieaswari and Claudine who play Yalini and Illayaal. They never stop to surprise you, playing their multi layered characterizations, with utmost perfection. The duo talking in the kitchen and Illayaal trying to put some sense in to Yalini for the first time, addressing her to show some courtesy, for her mom had just been killed in the war. This scene emphasis that they aren't simply numb but have no choice other than to pretend they are numb. The director scores in many such scenes, like Yalini conversing in Tamil to the sick French man whom she takes care of, the way they learn French from Illayaal who attends school, the survival drama in a housing system that deals with drug mafia, the gun shots that reminds them of the war back home and many more.

The unconventional bewitching juxtapositions, of weird close-up shots that zooms out in snail pace, leaving you guessing for a good whole minute. The music, then slowly scales up with the real life sounds of the ambience, and the surprise dawns on you, when you witness the object that had been zoomed, in its naturalness. These shots reiterates their anguish and also adds a finer dimension to their human subconscious mind, that longs to get back to their own soil. The maker succeeds in wrenching your heart with those beautiful camera work.

What actor Kamal Haasan tried in 'Vishwaroopam' - transforming to this fierce Wizam Ahmad Kashmiri from being the tamed Vishwanathan, here Anthonithasan who plays Dheepan, does it with more realism, sans any heroism and manages to score, if not more, at the least at par with the veteran actor.

What director Karthik Subbaraj attempted in his recent project 'Jagame thantiram', to painstakingly digitalize the post war migrant's agony, in an elaborate screenplay, the makers of Dheepan achieved it in many folds with no jingoism.

The closing shot is another one of those calming tight close-ups, which zooms-in this time instead of zooming out, 'the fingers caressing the hair'. A befitting closure indeed conveying what no words could have expressed.

It's a must watch, to do a comparative study of the craft of the French director to that of the Indian makers, who are compelled by certain template. Sadly, the Indian work often seem to succumb, not doing justice to the plot and the miseries of the people that inspired them in the first place.

My Octopus Teacher

 My Octopus Teacher

English, Documentary, Netflix, 8.1/10 IMBD, Directed by Pippa Ehrlich, James Reed

An intriguing log book, that turns a memoir, when God's creativity flabbergasts the viewers with the similarities of the intelligent invertebrates to the humans. Life never ceases to teach you- not only the fittest survive but also the smartest.

It does seem an extension of a National Geographic series to begin with. But the prologue of the documentary, gives a new color to the story-telling through a newer lens. A fatigued documentary film maker searching for a solution to rejuvenate himself and he finds a friend to bond with - Life mirrors one's inner emotions in its teaching, I realized. He revisits his childhood free-diving routines, to elevate his mundane mood and the screenplay is born out of the documentation of his year long visit to the habitat of his friend.

The high tides of the 'Benguela Current' of the Atlantic, churned my stomach and the gushing cold wind on the 'False Bay' caused some serious palpitation in a person like me, who has an aversion even to the world's most calmest water. When Craig dives sans his oxygen tank, in his bare body without a diving suit, I felt the biting chillness of the shallow 'kelp forest'. The antidote to my startled self was the magical dance of the algae - 'Kelp', with its broad yellowish brown leaves, swaying in contrast to the clear blue waters, the calmness seemed nothing less than meditative.

The survival techniques of an Octopus, is engrossing, especially when Craig deciphers those through the tracking eyes of the Central Kalahari men. A rare proposition for the viewers indeed. It is usually an enchanting experience when nature either consents to reveal its secrets or flaunt its creativity. But when the same is captured through those crystal clear underwater lens and is presented in a gripping narrative, it sure is a compelling watch.

The work would have been just a mundane documentary had it not been paired with a beautiful story - A human, bonding with an Octopus and for whose loss, his eyes even wells up at one point. But what happens in the mid part of the film while they are bonding, is what represents the maker's intent. The transfer of some valuable human lessons from the behaviorally diverse invertebrates is the key and when Craig's narration, visually finds parallels in the intelligence of his octopus friend to the humans, it is beyond belief.

The survival techniques are common to any species, but when it is a strategically planned one, its dramatic. It is an engaging watch.

Nayattu

 Nayattu

2021, Malayalam, Netflix, 8.2 IMDB, Directed by Martin Prakkat

An atypical backlash that interestingly represents the faceless bureaucrats, who are customarily tainted, both in films and the real lives. A genuine attempt to unveil the truth 'on the other side of the story' that, forever remains gray - a horrifying paradox of the impotent 'protectors' who are unable to fortify their own innocent selves.

When a few too many films, illustrate the unsung minorities of late, the Malayalam industry, divulges us, the inside story of the cops who are caught between the double-edged weapon, the menacing public and the merciless higher officials. I was fondly reminded of the righteous battalion from the film 'Unda', when i realized that the plot of 'Nayattu' revolves around the unapologetic system, that makes three cops of a station, 'refugees on the run' as the political system, shakes hands with their ill fate.

The characterization and the casting of the refugee trio is the first thing that catches your eyes- the ever so calm Kunchacko Boban, playing a civil police officer Praveen. He drives around the Assistant Sub Inspector of the station, Maniyan, played by the terrific Joseph and an interesting woman civil police officer at the station Sunitha played by the fantastic Nimisha Sajana.

The humaneness of the characters and their routine, bonds them to the viewers swiftly. The story picks ups momentum with the menacing youngster at the station. The way the maker exemplifies the 'minority-blanketed youth', gaining control over the stationed cops, sends a chill on the hassles of such seizing crowds. We are way too familiar with such crowds posing a threat to the service sector like a hospital and its staff being mobbed or a violence as a result of caste discrimination. But when the bureaucrats themselves are rattled by a handful of frenzy youngsters, the story is refreshing and it sets up an intrigue in the viewers. The 'macho-self' in Maniyan makes him grab a gun, to point it at the temporarily caged goons and when it is being silently recorded on a mobile, it leaves the viewers panic stricken. Another similar experience is when the trio's car accidentally hits one of the released goons and the reflex reaction of the cops in the jeep and the goons who come on motor cycle and end up misreading the accident sequence as 'revenge'. The eeriness of the night, kind of creeps you.

The finesse in the screenplay that pays attention to details are nothing less than impressive. The register rolls long, as I couldn't prioritize just a handful, for there are far too many scenes that are competing. The scene where Maniyan takes his cousin to drive the lot back from the wedding party as he was planning to get drunk and didn't want to drive back drunk, Joseph visiting his house to check on his family's safety and ends up showing off his child's acting skills to Praveen, like all proud parents do, the way the acquaintance of Maniyan in Munnar where they seek asylum, gives his dothi to Sunitha, himself assuming the reason for her headache, the attraction towards the lead characters as their eyes beautifully meet and part in perfect synchronisation, Praveen's subtlety in handling restless Maniyan, Sunitha's anger that makes her walk on the road, all confused and almost getting hit by a vehicle and so on. The acting instructions and scene constructions are spot on throughout the film, except for the lag in the Munnar squad chase sequences.

The chief minister character that boldly emulates the sitting minister, played by Jaffar Idduki strikes such a contrast to his drunkard fraud role in '2019's Ishq. He shows no agitation even in the most climacteric situation. The mimicking body language amplifies the realness to the situation and when they try to fake the capture of the 'trio on the run' after getting a positive affirmation from the squad that they are captured, it makes you retrospectively wonder how many of those monkey capped, towel wrapped accused, whom we see being brought in to custody, amidst the harrowing crowd, are really the ones that the authorities claim to be.

The shamble that the squad find themselves at the end of the chase of Praveen and Sunitha, when each one involved trying to save their own back is pragmatic. The way the officials cook up stories that taint the innocent beings for life, in the name of the political number game, leaves the viewers deeply scarred.

I was sub consciously visualizing many of the hand-cuffed and head-covered accused on the media and found my heart reach to a few of them, as they suddenly seemed 'look-alikes' of Praveen and Sunitha. I was guilty of having judged them, even before the trial had begun. I was guilty for not giving them 'the benefit of doubt' before taking sides with the media mania. I was guilty as I was blinded from knowing the other side, God forbid, if it might be the real side after all.