Satyajit Ray's Kanchenjungha is interrelated to the unpredictable mood of the nature juxtaposed over the characters seeking clarity. Ray's first color film and first original screenplay strikes an affirmation towards simplicity with no central characters. In the beginning, the characters are distant yet as the film culminates the strange closeness leaves with an echo of mist. Here, sun rays and mist are symbolically used to portray simple discussions seeking closure or bond. The visible mountain range of Kanchenjungha soars high in a peculiar culmination shot depicting the character's crystalized interpersonal relationships.
Reviews
5 Reviews
Iraivi
(2016)
Moral ordeal of male chauvinism
20 May 2020
Iraivi literally means "Goddess", it's a moral ordeal of male chauvinism. Director-Writer Karthik Subbaraj blends explicit as well as subtle metaphors while portraying the collateral damage upon women by inflated male egos. Writing unsympathetic characters and leading them towards denouncement through simple visual inventiveness - for example, the prison uniform falling from the clothespin depicting release of the prisoner. Throughout the film, women characters are juxtaposed with rains (fertile change) and windows (opening and illumination of darkness).
He mounts an unpredictable trajectory of the characters, it's the same unpredictable nature as in his previous ventures - Jigarthanda (2014) and Pizza (2012). This unpredictable trajectory is uplifted by seamless meaningful intercuts between the plight of characters. This is the women empowerment venture which lends sense and sensibility of freedom as the characters are ironically freed due to inflated male egos. There's a resolution which leaves a lump in the throat and there's closure which leaves void, the power of cinema reflects the real ordeal.
And the film gave an insight about SJ Suryah who plays a filmmaker, he literally beholds every frame through his nuanced gestures.
He mounts an unpredictable trajectory of the characters, it's the same unpredictable nature as in his previous ventures - Jigarthanda (2014) and Pizza (2012). This unpredictable trajectory is uplifted by seamless meaningful intercuts between the plight of characters. This is the women empowerment venture which lends sense and sensibility of freedom as the characters are ironically freed due to inflated male egos. There's a resolution which leaves a lump in the throat and there's closure which leaves void, the power of cinema reflects the real ordeal.
And the film gave an insight about SJ Suryah who plays a filmmaker, he literally beholds every frame through his nuanced gestures.
Mercury
(II) (2018)
Brilliantly-crafted thriller, but that's not essential!
26 May 2018
Karthik Subbaraj begins with the routine horror built up which has a strong effect over the impactful events. While unfolding at somewhat leisure pace which keeps stimulating the horror effect inconsistently. The sound heavy silent thriller becomes chilling once the thrilling entity enters, we start absorbing and the need of "silence". Although, the scares are less - what builds up scarily and eerily is Karthik's effective handling of the sensory modalities - deprecating us to breathe for a while. The unique conflict between senses - sight and sound trembles into a thrilling cat and mouse game.
It's definitely a brilliantly-crafted thriller but that's not essential. The major tonal shift is abrupt which throws us off the dark track while Karthik tries to get hold of social theme - environmentalism. Nevertheless, it's commendably rendered for the effect along with fine bunch of cast including the gutsy Prabhu Deva.
"Mercury" is a noisy thriller at it's best though marketed as a silent thriller film, it makes us sick with the toxic green hue and Karthik's fearless and gutsy filmmaking sails safely through this interesting cinematic venture.
It's definitely a brilliantly-crafted thriller but that's not essential. The major tonal shift is abrupt which throws us off the dark track while Karthik tries to get hold of social theme - environmentalism. Nevertheless, it's commendably rendered for the effect along with fine bunch of cast including the gutsy Prabhu Deva.
"Mercury" is a noisy thriller at it's best though marketed as a silent thriller film, it makes us sick with the toxic green hue and Karthik's fearless and gutsy filmmaking sails safely through this interesting cinematic venture.
October
(II) (2018)
Poetic, nuanced film
26 May 2018
Skeptical to write a review on a nuanced and unique film which is more of a savouring. Each and every scene breathes while there is lump in the throat with wet eyes, as you watch the sensitive piece of work. Uncomfortable it might get for some viewers, given the leisurely pace but one needs to be patient to savour a thanksgiving feast. I came out of the theatre overwhelmed, heart-broken and stood numb before I let out myself.
Juhi Chaturvedi's innate writing is the most dominant aspect, for example, Dan's selfless love, the vegetable state of Shiuli and the yearning for her inspite of inability to reciprocate. There's a poetic rhythm in her writing - the stillness and silences sync with the flow of the narrative well. And it's well-woven by Shoojit Sircar's nuanced direction skills. It's a film which stays with your heart and dives deeper the more you venture out, it's a beautiful selfless romance. To churn out such a poignant film needs guts; there's a conflict between inter-personal and intra-personal beliefs, it has a resilient tone.
Cinematographer Avik Mukhopadhyay lends an ethereal and perfect atmosphere to engulf. Shantanu Moitra's magnificent and enthralling theme renders the emotions. Varun Dhawan has reinvented himself with a restrained performance with complexities and innate child-like behaviour, his finest performance till date (debatable with Badlapur). Banita Sandhu fits the role perfectly even though most of the time she's in the hospital, it does require an act.
October isn't an escapist cinema, its a heart-wrenching as well as heart-warming poetic piece of work, unrequited. It might cater the International audience than the Indian sensibilities, but I suggest you to get it a chance. Definitely requires a re-watch for a better understanding, I stood numb and took a while to formulate words.
Juhi Chaturvedi's innate writing is the most dominant aspect, for example, Dan's selfless love, the vegetable state of Shiuli and the yearning for her inspite of inability to reciprocate. There's a poetic rhythm in her writing - the stillness and silences sync with the flow of the narrative well. And it's well-woven by Shoojit Sircar's nuanced direction skills. It's a film which stays with your heart and dives deeper the more you venture out, it's a beautiful selfless romance. To churn out such a poignant film needs guts; there's a conflict between inter-personal and intra-personal beliefs, it has a resilient tone.
Cinematographer Avik Mukhopadhyay lends an ethereal and perfect atmosphere to engulf. Shantanu Moitra's magnificent and enthralling theme renders the emotions. Varun Dhawan has reinvented himself with a restrained performance with complexities and innate child-like behaviour, his finest performance till date (debatable with Badlapur). Banita Sandhu fits the role perfectly even though most of the time she's in the hospital, it does require an act.
October isn't an escapist cinema, its a heart-wrenching as well as heart-warming poetic piece of work, unrequited. It might cater the International audience than the Indian sensibilities, but I suggest you to get it a chance. Definitely requires a re-watch for a better understanding, I stood numb and took a while to formulate words.
Raazi
(2018)
a layered patriotic film with a humanistic approach
26 May 2018
Until the interval, the film was slowly boiling but felt like something was missing. But a powerful scene just before the interval explained the whole film in a go. Sehmat undresses herself after a killing, stands under the shower and cries - the cries crack up the heart. One surrenders to the nation irrespective of the in-depth emotions, until Raazi came up the films relied more on nation. But, Meghna Gulzar proves, Emotion is greater than Nation.
The complex nature of the film might come across as a defect, beneath the surface the heart is rapidly beating and the conflicts underline every character. The borders cease to exist, writers Bhavani Iyer and Meghna Gulzar team up to built a strong sense of emotional play. And this is just what I always expected from a war-torn film. The dynamics of "Ae Watan" play in context to both the countries, there's no hero or villain - humanity is. Bollywood has often patronised the term "patriotism", Raazi steps beyond it by taking up the humanistic approach brilliantly. And then, the following dialogue works as a paradox- "Watan Ke Aage Kuch Bhi Nahi, Mohabbat Bhi Nahi (there's nothing beyond a nation, not even love)", says Iqbal Syed.
Sehmat played by Alia Bhatt carves into emotion during the shower scene, often her anxiety comes across childish which just stands as a mould. Watching the film with a peaceful mind might help to digest the thought properly, and I guess, our nation needs such a thought owing to the present "nationalist" agenda.
The complex nature of the film might come across as a defect, beneath the surface the heart is rapidly beating and the conflicts underline every character. The borders cease to exist, writers Bhavani Iyer and Meghna Gulzar team up to built a strong sense of emotional play. And this is just what I always expected from a war-torn film. The dynamics of "Ae Watan" play in context to both the countries, there's no hero or villain - humanity is. Bollywood has often patronised the term "patriotism", Raazi steps beyond it by taking up the humanistic approach brilliantly. And then, the following dialogue works as a paradox- "Watan Ke Aage Kuch Bhi Nahi, Mohabbat Bhi Nahi (there's nothing beyond a nation, not even love)", says Iqbal Syed.
Sehmat played by Alia Bhatt carves into emotion during the shower scene, often her anxiety comes across childish which just stands as a mould. Watching the film with a peaceful mind might help to digest the thought properly, and I guess, our nation needs such a thought owing to the present "nationalist" agenda.
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