What I like most about Trivikram Srinivas is how he connects mythological stories with mass masala movies. He often places his heroes in the roles of Vishnu, Rama, or Krishna, making them feel like incarnations of these divine figures. In Saripodhaa Sanivaaram, Vivek Athreya followed a similar approach.
Saripodhaa Sanivaaram Title card
Have you heard the story of Narakasura?
Narakasura was a powerful and evil demon king, the son of Bhudevi (Mother Earth) and Varaha, an avatar of Lord Vishnu. Despite his divine origins, Narakasura was notorious for his wickedness and cruelty. He ruled the kingdom of Pragjyotisha, where he terrorized people and killed many innocents.
His power and arrogance grew so immense that even the heavens were disturbed by his actions.
Finally, Lord Krishna decided to fight Narakasura. However, Narakasura had a boon that only his mother could kill him. Krishna, knowing this, allowed Satyabhama, who was an incarnation of Bhudevi, to take the lead in the battle.
Plot: Saripodhaa Sanivaaram
Saripodhaa Sanivaaram begins with this story, and throughout the movie, Naani keeps referring to it. In a way, S. J. Suriyah represents a modern-day Narakasura, Sokulapalam is a modern-day Pragjyotisha, and Surya and his girlfriend Charulatha can be seen as Krishna and Satyabhama.
Nani vs S J Suriyah Face Off from Sanivaaram
But there is one difference, Krishna empowers others to take action against injustice but Suriya is different, when he witnesses injustice, he does not let it go.
Why You Should Try This Movie
This movie is packed with all the elements that make for commercial success in Tollywood and Kollywood: mother sentiment, father sentiment, sister sentiment, and a hero saving a community from oppression or vigilantism. A hero introduction setup where he fights against injustice. You’ll experience intense cat-and-mouse games between the villain and the hero.
Nani & Priyanka Mohan
But what’s most impressive is that Vivek Athreya proves you don’t need to rely on showing the actress’s navel, a mass item song, or a foreign set song to create a mass action flick. Even though it’s a mass entertainer, Vivek Athreya keeps a minimalist approach, ensuring that you won’t get bored with cliches. In one line, Saripodhaa Sanivaaram is a middle-class Chathrapathi or a Vikramarkudu on a low budget.
A Domino Game and Athreya’s 6 Chapters
I feel like Vivek Athreya, as a writer, took inspiration from films like Tamil Maaveran and various Hollywood movies. He segmented Saripodhaa Sanivaaram into six chapters: the prologue, the turn, the knot, the crossroads, hide and seek, and redemption. It’s almost as if Vivek Athreya is trolling mass-action fans, sarcastically asking us, ee formula Saripodhaa? (Isn’t that enough?).
S J Suriyah as C I Daya
He established Suriyah (Nani) with subplots, Charulatha (Priyanka Mohan) with an open-ended past, and Daya (S J Suriyah) laced with dark humour and a dysfunctional family plot, all of which set the stage for a fire show.
The way Vivek wrote the script is like a domino effect—each event triggers the next, and each character drives an event. It’s beautiful to witness the script evolve so rhythmically.
Performances & Cast
When it comes to performances, Abhirami’s portrayal of the mother was deeply touching and reminded me of Simran in Kannathil Muthamittal, especially those moments at the beach, and some elements from Bhanupriya of Chathrapathi.
Sai Kumar, the millennium’s angry young man, plays a father struggling to pacify his angry young son. There wasn’t much for a veteran like Sai Kumar to do, aside from a few bass voice narrations.
Nani as Suriyah
S. J. Suriyah and Nani played their characters brilliantly, convincingly portraying their utterly chaotic and distressed lives. Both are going through pain triggered by siblings—one suffering because of his brother, the other troubled by his sister.
Murli Sharma and Ajay Ghosh’s characters were icing on the cake with the perfect touch of humour to the film with their mannerisms and timing.
S J SUriyah speech at Saripodhaa Sanivaaram pre-release event
However, Priyanka Mohan’s character didn’t quite convince me. As S. J. Suriyah mentioned during the pre-release event of Saripodhaa Sanivaaram, Priyanka was too cute even as a constable. Her makeup, costume, and body language felt more like a hero’s pillion rider. I wish she had played a more prominent role, similar to what we see in the Narakasura story.
Jakes Bejoy: The Master of Elevation
Last but not least, Jakes Bejoy is the one who ensures you won’t dig too much on logic. Instead, you’re completely sucked into Athreya’s world, where no poor man uses social media or mobile cameras. For every question that pops into your head, Vivek’s writing will push you to another event, and Jakes Bejoy’s BGM will scream loud, and shut your curious mind, keeping you on track.
Saripodhu Ee Sanivaram
Finally, it’s technically a Vivek Athreya vigilante story, but I believe it’s actually a Vivek Athreya revenge story—a revenge against the Telugu audience who made his Ante Sundaraniki a flop. Now, he’s screaming loud to you: Saripodhaa Ee Sanivaram! (Is this Saturday enough??) I believe people are saying a big yes! Ee saari assalu bore kottaledhu.
In one of his interviews, Ravi Teja mentioned that some directors had already approached him for the Raid remake, but he declined since it doesn’t fit within his comfort zone (mass-masala-glamour). However, when Harish Shankar proposedMr.Bachchan, he readily agreed because Harish Shankar’s remakes are different. I completely agree with this, and that’s exactly what I felt when I watched Gaddalakonda Ganesh and Mr. Bachchan. Harish Shankar will go to any extent to entertain with his masala-action dramas.
Mr.Bachchan Title Card
The thing with a remake movie is, when you know what’s coming yet still find yourself drawn to the narrative, then it’s a successful remake. And that’s the Harish Shankar formula. Let’s take the example of Dabangg and Pawan Kalyan’s Gabbar Singh. Who would have expected that Antakshari event with rowdies at the police station?
Gabbar Singh Antakshari Scene
The Grandeur Plot
In Mr. Bachchan, Ravi Teja plays a tax official who raids the house of a powerful and wealthy man and gets suspended from the department. The entire first half has him romancing the heroine and enjoying his suspension period. In the second half, his suspension is repealed, and he’s assigned to conduct a raid at another ruthless, powerful man’s home.
Ravi teja Title Card: Mr. bachchan
Raid (2018) vs. Mr.Bachchan (2024)
In the original movie Raid by Rajkumar Gupta, there’s minimal setup before the raid. We learn that Ajay Devgn has been receiving information from an anonymous source about hidden wealth, and he keeps it all secret, even from his staff, because he (correctly) doesn’t trust them.
Raid Trailer
What I like most about Raid is that it manages to be thrilling without being stressful. But in Mr. Bachchan, everything is grand—4-5 songs, tonnes of junior artists and their melodrama, comedians popping up like those random pineapple pieces in a spicy biryani.
Bhagyashri, Harish Shankar’s Lucky Star
Despite its niggles, clichéd templates, and outdated comedy of nearly two and a half hours, Mr. Bachan might entertain the regular Telugu movie audience, who doesn’t have much in the way of expectations or deep thoughts.
For example, you shouldn’t ask questions like how a 1980s couple from a village dreams up a song in Switzerland, or why the camera angles focus more on the heroine’s curves than her face, or why the ruthless villain and his entire gang are helpless against an average man without even a gun.
It’s a director’s film that draws steamy performances from both Bhagyashri Borse and Ravi Teja, and that’s the biggest highlight of the film. Honestly, it’s more Bhagyashri’s film than Ravi Teja’s.
Ravi Teja – Harish Shankar Mass Elements
What makes the difference in such an old-type story is the spicy cooking by Harish Shankar. He knows the recipe well. More than Ravi Teja, it’s Bhagyashri Borse who got the whistles. There are certain antics of Ravi Teja—like wrapping his arms around belly curves, clasping fat tissues, cuddling earlobes and neck—which could appear like ‘overacting’ if not handled well by the director. But Harish Shankar managed those areas really well with his camera angles and aesthetic direction skills.
Song Shot from Mr.Bachchan
He used them excellently to bring out hilariously entertaining episodes from the central characters, and even threw in retro Bollywood songs in the first half.
Why you should try Mr.Bachchan
Sathya and his comedy track with Sachin Khedekar
A surprise cameo in the second half
The climax twists and fights
Bhagyashri and her cuteness-overloaded songs
Retro song recording sections—probably the best comedy track of the film
Reference episodes to Amitabh Bachchan movies
The only hope for Ravi Teja, he badly needs a hit, let’s support 🙂
“Mr. Bachan, the only hope”—I believe this title fits Ravi Teja perfectly. After multiple flops, his only hope is in Harish Shankar, and I believe this will end up as an average grosser. One thing is sure: Bhagyashri is going to be the next Sreeleela of Tollywood.
Have you ever wondered about those moments when you wish for something—a sea breeze, perhaps—and suddenly, your friend calls for a beach walk? It feels like there’s an unseen force listening to your thoughts, understanding your wishes, and weaving them into reality. I call it as hidden blessings, some says it’s the Atma of your dearest ones, maybe your grandma, maybe your childhood friend who died in an accident. Whatever it might be, I strongly believe there is a mysterious or hidden aura around us, that quietly orchestrates the events for us. It’s listening you, and seeking you.
Ghostly reflection experiment
Madampu Kunjukuttan
Recently, I came across a memoir by Madampu Kunjukuttan that reminded me of this thought. Those who don’t know Madampu should try the biographical novel Bhrashtu. It’s the real life story of an 18th century Namboodiri woman excommunicated for adultery — during the court hearing, she shocked the presiding court by naming a score of society notables whom she encountered, it’s a revenge-bound story which exfoliate the hypocratic patriarchal community of 18th century Kerala.
Madampu Kunjukuttan (1941- 2021)
Madampu Kunjukuttan used to frequently visit Mookambika temple between Kollur and Kodachadri during his early writing days. Those trips helped him to introspect and infuse a spiritual enlightenment in Madampu, both as a writer and a spiritual seeker.
Those who have read Aaryavartham or Bhrashtu can connect with my words. From Adikula nathan’s disintegration, Aryavartam is the story of the Adigotras, who emerge as four clans. The sub-plots in an extended narrative style are enough to understand the depth of Madampu’s thought processes.
A Yogi, Madampu & Their Karmic Interconnectedness
During one such Mookambika visit, he encountered a young yogi deeply immersed in meditation at Sarvagnya Peetha. Intrigued by the yogi’s serene demeanour, Madampu approached him and kept three coins there as a Bhiksha (noble donation). Madampu turned back and took a few steps, but suddenly the yogi opened his eyes and called him back.
Kodachadri Hills
With polished British English, the yogi calmly asked, ‘What brings you here with these coins?’
‘I do not know; it just felt right,’ Madampu replied with a smile.
‘Will it always feel right?’ The yogi chuckled, prompting Madampu to respond in his own way, ‘Probably not.’
The yogi grasped Madampu’s hand. ‘Brother, today I thought of this: someone donating 3 coins. In a week’s time, I will go to the valley and buy three handfuls of rice with three coins. That’s enough for me for a week. This money you brought here will fulfil my needs for the week. The grace of my guru.’
The yogi then shared his story. He spoke of spiritual journeys and learnings—of Himalayan expeditions, encounters with Shankaracharya’s teachings, and seeking the essence of Devi worship. He recounted his time studying Sanskrit under Jnanananda Saraswati in Rishikesh.
Then, with those sparkling eyes, Yogi asked, Have you ever heard about my guru, Jnanananda Saraswati?
This question from Yogi, who was a foreigner in Kodachadri, took Madamb back to his childhood. A period even before Madambu’s Upanayana.
Once, during a monsoon afternoon, Madampu and his brothers saw someone at the doorstep. The man was conversing with elders, and Madampu discovered that he was a man from the south, well-versed in Puranas and Sanskrit. Madampu asked his uncle, ‘Who is this?’ ‘Parameshwaran,’ came the reply.
That was the first time he met that genius.
‘I need to eat,’ Parameswaran said. ‘Clean yourself at the pool, and the food will be ready,’ Madampu’s uncle replied. The family gave him food and shelter. That’s how Parameshwaran lived in Madampu’s Mana for five years! He also taught Sanskrit to Madampu and his siblings.
Parameswaran Unnithan started teaching sanskrit to many children in his area, and finally he married the sibling of one of his disciples. His children went abroad, received a good education, and began a successful career there.
Parameshwaran Unnithan, who had travelled from Kerala to the Himalayas, influenced by Adi Shankara and Brahmasutrabhasya, in search of knowledge, reached Rishikesh, then obtained Deeksha and became Jnanananda Saraswati. The same Parameswaran Unnithan who taught Madampu Sanskrit is the one who taught that young yogi Sanskrit.
“Do you know Malayali Gnananda Saraswathi?”
Young Yogi asked again.
Yogi’s question awakened Madambu from his past. A misty breeze that came from beyond the mountains in Kodachadri caressed both of them.
“I know. He has also taught me Sanskrit. He stayed with us for four to five years. We got his blessings.”
Young Yogi’s eyes were filled with tears after listening to this.
“Everything happens for a reason, “Yogi said.
Madampu remembered Yogi’s words. When he got three rupees, the young British yogi said that it was the blessing of the Guru. The sky stood red above Sarvagnya Peetha; it made them feel like Mookambika Devi was showering Vermillion with her blessings.
Philosophies Around Interconnectedness
This interconnectedness and hidden auras which are working for us, can be seen in many philosphies. In Eastern philosphies, it’s called Karma and Dharma. It suggest that our actions and thoughts have ripple effects beyond what we perceive. In Buddhism, for example, posits that all beings are interconnected, and actions (karma) influence future outcomes in a complex web of cause and effect.
Modern philosphies describe it as Butterfly effect. This chaos theory illustrates how small changes can lead to significant consequences over time. It suggests that even tiny, seemingly insignificant actions or events can have far-reaching effects in complex systems.
The most modern word is manifestation; it refers to the belief that through focused thoughts, intentions, and actions, individuals can attract or create desired outcomes in their lives. Recently, in an interview, actor Vijay Sethupathy said he manifested his acting career. I believe the aura around him might have listened and worked for him.
Imagine this: hidden energies or unseen and mysterious Atmas, surrounding us ceaselessly, attentive to our every whisper and thought. They are like silent guardians, fulfilling the commands of our subconscious minds.
When our intentions are noble, these energies conspire to nurture and elevate us, crafting pathways to our desires. When our thoughts are evil headed, their influence can be ominous, steering us towards destruction.
What do you think? Are we mere vessels, or do we wield unseen powers that shape our destinies? Do you believe in this interconnectedness? Have you ever experienced these mysterious aura around you working for your wishes. Share in comments.
Refer to this image for a better reading experience.
If you ask me, which is the brilliant Malayalam film from the 2024 first quarter, I would say it’s Aattam. Aattam is a 2024 Malayalam suspense chamber drama. Penned by debutant director Anand Ekarshi, Aattam navigates through the politics of gender dynamics, patriarchy, situational morality & selfishness in humans, within a theatrical setting. If you have seen this movie, most viewers ask a question: Who is the culprit in Aattam. Let me explain the layers of Aattam first, and if you are impatient, the answer is Sudheer.
Plot Overview
Aattam is a thriller of accusation and betrayal set against the backdrop of a theatre troupe. The plot circles around Anjali, the group’s only female actor, levelling charges of sexual harassment against a newly joined popular movie star in their team.
A scene from Aattam
What starts as a straightforward allegation soon spirals into a complex web of deceit, manipulation, and shifting loyalties, especially when the proposal of a European tour throws the troupe into moral disarray.
The narrative cleverly employs a classic whodunit structure, yet the way it unveils the innate biases and hypocrisy of its characters is what makes it interesting.
How Aanand, wrote each character is truly admirable; for example, the character Aji (the eldest among them): Aanand constructed the character through micro interactions (mentioning phone calls, his mannerisms, etc).
Transformation scenes of Aji from Aattam
At the same time, Aji’s transformation didn’t go well (someone who doesn’t care about dying suddenly willing to compromise on himself so that he can go to Europe is a bit forced, in my opinion). And all this was just so that he could say what he said at the end.
Finding The Culprit & Theme of Aattam #Whodunnit
Aattam is not about Whodunnit; by the end of the film, if you are just curious to know Whodunnit, then I would say this film is not for you. This film is not about the sinner; rather, it’s about the sin.
It’s like wondering if Teddy Daniels in Shutter Island chooses to live in a lie or faces the truth in the end. The real question isn’t what reality he picks. It’s about Teddy reaching a point where he prefers peace over constant torment, regardless of whether his world is real or made up. So, he makes a choice that might lead him to a lobotomy, showing he’d rather forget than live with the pain.
A scene from Shutter Island
The movie is sprinkled with so many minor flaws in human interactions, be they judgmental, generalisation based on experience, selfishness, hypocrisy, vigilantism, patriarchal mindset, social influence, arrogance, or demeaning others.
A scene from Aattam
Even in the way he shows patriarchal ideologies in all layers of society, for example, there is a scene where a politician requests Madan’s vote, saying, Come and vote for me with the same finger that you have voted for my father.
By the end, when Anjali says: “നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല”
Climax scene from Aattam
The director Anand Ekarshi summarises the movie there. But if you are curious to find the culprit from Aattam, I will help you. Scroll down straght to the last sub-heading.
12 Angry Men v/s Aattam
Aattam is very similar to the classic 12 Angry Men, be it the style, theme, and narration. It’s evident that Aanand Ekarshi is highly inspired by 12 Angry Men.
The film 12 Angry Men exemplifies many social psychology theories. This tense, compelling film, features a group of jurors who must decide the guilt or innocence of the accused.
12 Angry Men
Initially, eleven of the twelve jurors vote guilty. Gradually, through heated discussion, the jurors are swayed to a not-guilty decision. Upon examination, the film highlights social psychology theories in areas of conformity, attitude change, and group processes.
Don’t you think it’s the same structure that Anand is following here?
When the inverter stops working, everyone leaves the house and steps outside due to the heat. Later, when it starts to rain, everyone rushes inside the house. These 2 scenes are one of the few scenes in which background music can be heard.
I think the director Anand Ekarshi wants to emphasise these 2 scenes, to show how we change our stance depending on the situation. The whole team was sure about throwing out Shajon’s character initially, but when the London Trip was introduced, everyone changed their stance.
A scene from 12 Angry Men
A similar scene you can see from 12 Angry Men, where they open the windows because it’s too hot inside, and they open up the windows.
This shows that we humans change our stands as per our needs. This is where, I thought it would have been great if there were a couple of women who initially stood with Anjali and then turned their backs after the European trip offer came, It would better show that most people are hypocrites, not just men.
Attitude Change and Persuasion in the First Half
The central route to persuasion is all about logic and reason. It’s where you convince someone by using strong arguments, evidence, and facts to back up your position.
In the first half, you can see that Madan, Sijin, Jolly and Santosh are doing this.
For example, Sijin asks Madan: “What exactly did she tell you”, or Jolly asks: “So it happened not when she was awake”
Peripheral v/s Central persuasion
The peripheral route of persuasion is the opposite of the central route. It’s a shortcut to influencing someone, relying on indirect cues and associations rather than strong arguments.
It targets our emotions and biases, and doesn’t require much effort from the audience to process. Vinay, Aji, Nandan, Sudheer, and Selvan are following this route.
For example when Nandan says: “He will do it, he always shares bawdy jokes”. or Selvan says: ” A sober mind wouldn’t do such things, it happened becuase they were drunk”. Through the use of non-factual, environmental cues, the sick gentleman utilises the peripheral route to persuasion.
Another important factor is Social loafing. It describes a situation where people exert less effort when working in a group compared to working alone. It’s like slacking off a bit because you think others will pick up the slack.
Prashanth and Jolly are in that stage, where they are slacking off with excuses.
Imagine you and your friends are discussing a movie. Some might initially like it a little, some might be neutral, and a few might dislike it. Through discussion, those who liked it a little might become more enthusiastic, and those who disliked it might become even more critical. This is group polarisation.
Vinay brilliantly polarised everyone in one direction, by the end of the first half.
Moral Disengagement in The Second Half
Throughout Aattam, you are going to witness a few complexities in human behaviours like Moral Disengagement and Hypocrisy.
What is moral disengagement?
Moral disengagement is basically a fancy way of saying someone talks themselves into believing ethical rules don’t apply to them in a specific situation. It’s a psychological process that lets people act unethically without feeling bad about it.
Moral Disengagement
Moral justification: Coming up with reasons why their actions are good, even if they aren’t. In Aattam, how conveniently the characters brought different reasons after they got to know about the European trip.
Observe how Selvan, Madan, Aji and Jolly. For instance, Jolly, the silent guy in the first half is aggressive and says “Just swallow the story in the whole”.
Euphemistic labelling: Using nicer words to downplay the seriousness of their actions. For example when Madan talks about “Tactile Halluccination” he is trying to nullify her arguments in a sweeter way compared to Santhosh and Sijin.
Discrediting the victim: This involves downplaying the harm caused to the victim or portraying them as deserving of the negative consequences.
For example, Selvan saying about Anjali’s drinking habit, Prashant talking about her relationship with a married man, Sijin talking about her relationship, even addressing her as “Set-up”.
Disregarding or minimising consequences: This involves downplaying the negative outcomes of the action. For example, Vinay saying Anjali ” No one did anything to you, let’s believe it like that.”
I really love that scene where Anjali asked the question to vinay: “If it’s not Hari, who was it? , no one raised this question”. this is where the brilliance of the script, in the beginning, everyone was talking about the punishments, but when they realised it’s not Hari and one among them, they conviniently went through the moral disengagement and forgot the whodunnit part.
Who Is The Actual Culprit: Aattam Ending Explained
If you really want a culprit, let me share some thoughts:
In the final scene of the movie, in Anjali’s drama, the culprit confesses while Anjali is holding a yellow cloth. There is only one character in the whole movie who is wearing a yellow dress. Is that the culprit?
That’s not a rational finding, right?
Okay, one more theory:
Anjali said, there was an intense perfume smell. Guys who fell in the pool won’t have that intense smell.
Jolly, Sudheer, Prashanth and Vinay were the people who didn’t fall in the pool.
Let’s eliminate Vinay, since, he is her lover. Jolly was busy with his video call and was disturbed, so let’s eliminate him.
Now either it should be Prashanth or Sudheer. Sudheer and Prashanth are the ones who got disturbed while hearing this, and went out for smoking.
I believe it’s Sudheer. WHY?
During that party, Sudheer was disturbed by seeing Anjali’s cleavage, that disturbance can be an arousal as well. Sudheer tried to hide the evidence in the first half, without any rationality. Near to the climax, while Jolly is showing the screenshot to others, Sudheer acts like he is seeing the first time. He was in a hurry to establish Hari as the culprit. He consistently avoided involving the police.
Sudheer’s key scenes from Aattam
Being a smoker, Sudheer knew that Hari kept cigarettes in his car. He likely stole the car keys before the other person retrieved them.
Additionally, Sudheer watched pornography just before the incident. that was revealed later. Madan is asking why Nandhan went to Shajitha’s room, if we place Sudheer in Nandhan’s place, we have an answer: Sudheer might have gone there to see his wife and might have seen Anjali.
So, I believe it’s Sudheer. But let me remind you that the essence of film is not #Whodunnit
“നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല” 👌 { “I don’t need to know who you are. You and those 11 people are all the same to me today.” – Anjali }
The history of Valentine’s Day dates back to the fourth century, when Pope Gelasius 1 declared February 14th as St. Valentine’s Day. So let me introduce the four types of love from Greek philosophy.
1️⃣ Experience: Four Types of Love
Without experiencing the many forms of love, we’ll always feel a little empty.
The ancient Greeks possessed a complex understanding of love that still holds relevance today.
Their lexicon included four distinct types of love: Agape, Eros, Philía, and Storge.
Movies Which Share The Experiences
Four Types of Love: Greek Philosophy
❤️Agape denotes a selfless, unconditional love that extends beyond personal desire and encompasses the well-being of others.
It’s selfless, puts others first, and doesn’t expect anything in return. Imagine helping a stranger without expecting thanks, volunteering, or donating to a cause. I hope you have seen the movie Schindler’s Listor Malyalam movie 2018.
2018 Trailer
❤️Eros, on the other hand, represents a passionate, romantic love driven by physical attraction and desire.
The “butterflies-in-your-stomach” experience. It’s passion, intense attraction, and physical desire. Think that first crush, the romantic spark, or the thrilling excitement of new love. Think of a movie like Chunking Expressor Njan Gandharvan.
Njan Gandharvan teaser
❤️Philía describes a deep, platonic love rooted in mutual respect, shared interests, and genuine friendship.
Experience that “best friend forever” companionship . It’s built on friendship, shared interests, mutual respect, and understanding. Think movie nights with your buddies, deep conversations with an old friend, or the camaraderie of a sports team. Hope you have seenWhen Harry Met Sallyor kannada movie Katheyondu Shuruvagide.
KatheyonduShuruvagide Trailer
❤️Finally, Storge denotes a familial or parental love that is instinctual and unconditional.
Think the bond between parent and child, the unconditional love you have for your siblings, or the close connection with your grandparents. Hope you have seen the animated movie CoCo (2017) or tamil movie Peranbu.
Peranbu Trailer
Experiencing all these four types of love is vital for a fulfilling life, as it nourishes and enriches our emotional well-being.
Beginning of a Lifelong Romance
We should strive to evoke these emotions in others and elevate them for one another to create a more loving and empathetic society. These four types of love explains the nuances of love. By understanding the nuances of love, we can cultivate stronger, more meaningful relationships that enrich our lives and the lives of those around us.
So, go forth and experience the four types of love — agape, eros, philía, and storge — and embrace the diversity and depth that life has to offer. And remember, if all else fails, a little laughter can go a long way in matters of the heart.
As Oscar Wilde once said, “To love oneself is the beginning of a lifelong romance.”
So, experience all four types of love, evoke it in one another, and elevate it for one another. That’s the key.
2️⃣ Pain & Redemption
At the core of any transformative experience is the element of pain and suffering. Love, in particular, is known for its ability to inspire profound changes in individuals.
The reason for this is simple: transformation requires the shedding of one’s old self, and this shedding process can be painful. In fact, some of the most significant changes we experience are born out of great suffering.
Movies Which explain the Pain
This is why love demands that we surrender ourselves to a little bit of suffering. Whether it’s the pain of rejection, the agony of heartbreak, or the discomfort of vulnerability, these experiences are necessary to spur on the kind of transformation that love offers.
Suffer For It
And it’s not just romantic love that requires this level of surrender. If we truly love our work, our art, or our craft, we must be willing to suffer for it. We must be willing to endure the long hours, the uncertainty, and the setbacks that come with any creative pursuit.
But it’s not just about enduring suffering for the sake of transformation. We must also take the time to reflect on our journey, to understand why we’re here, who we are, and why it matters. Only by embracing the transformative power of love, and by surrendering to the suffering it demands, can we hope to unlock our full potential.
Redemtpion
And so, as we embark on this journey of love and transformation, let us remember that it is not a path for the faint of heart. But if we are willing to take that deep breath and plunge headfirst into the abyss, we may just emerge on the other side, transformed and ready for whatever comes next.
And as the philosopher Friedrich Nietzsche once said, “What does not kill me makes me stronger.”
So, let us suffer a little, and emerge stronger, wiser, and ready to love again.
I recommend you watch Masaan (2015) , Tamasha (2015), La La Land (2016).
3️⃣ Slow & Steady: Mean it
Love is not a commodity that we can buy, nor is it a game that we can play. Love is something that we give, and it’s a reflection of who we are.
Most importantly, it’s a verb, not a noun, it’s an action.
As the ancient Greek philosopher Plato once said, “At the touch of love, everyone becomes a poet.”
Love inspires us to be creative, kind, and compassionate, and it can elevate our lives to new heights. However, if we don’t mean it, we risk losing it all.
Fake it ’til you make it
There’s a famous saying that goes, “Fake it ’til you make it,” but when it comes to love, that’s a dangerous game to play. You can’t fake love, and you can’t substitute it with anything else. As the American author H. Jackson Brown Jr. once said, “Love is when the other person’s happiness is more important than your own.”
If we don’t mean it, we risk hurting ourselves and the people we care about.
So, how can we mean it?
Well, it starts with being honest with ourselves and others. We need to be clear about what we want and what we’re willing to give.
We need to be vulnerable and open to the possibility of rejection, knowing that it’s part of the process.
And we need to be patient and persistent, knowing that love takes time to grow and blossom.
Lunchbox & RBDJ: Indian Movies
Remember, genuine love is not something that we can fake or substitute. It’s a precious gift that we give and receive, and it requires us to be true to ourselves and others.
As the American singer-songwriter John Legend once said, “Love is not just a verb, it’s you looking in the mirror.” So, let’s be honest, vulnerable, patient, and persistent, and let’s mean it.
I would recommend movies likeThe Lunchbox (2013), Call Me by Your Name (2017).
Ritesh Batra took 6 years to release his second Hindi film, Photograph, after my favourite film,The Lunchbox. This time he explained the story of two obedient individuals, Miloni (Sanya Malhotra), who is studying to become a chartered accountant, and Rafi (Nawazuddin Siddiqui), a street photographer. Let’s see how Batra crafted a different movie from the same set of characters, elements, and geography that he used in The Lunchbox. In essence, both films are narrating the same crux.
Photograph Trailer
Miloni meets Rafi at the Gateway of India in Mumbai, where she allows him to take her photograph. Unfortunately, her family calls her away before he can give it to her in an envelope. Later, circumstances make Rafi ask Miloni to act as his girlfriend while his grandmother (Farrukh Jaffar) visits. She agrees, leading to the formation of an unexpected connection between them. Nawazuddin Siddiqui and Sanya Malhotra perfectly match the film’s gentle mood, expressing much through subtle body language, the setting, and their eyes.
“Years from now, when you look at this photo, you’ll feel the sun on your face, wind in your hair and hear all these voices again. Or it’ll all be gone. Gone forever.”
– Rafi in Photograph (2019)
Two Parallel Rays From Different Sources
Miloni and Rafi have different backgrounds, yet they are moving in parallel in the same direction. Photograph explained this journey in The Lunchbox style. They both are not sailing in life for what they want; rather, they are living for others. They are obedient people who have followed whatever has been told to them.
Miloni was always obedient to her parent’s choices. There is a scene where, during dinner, her family members say that Miloni wanted to become an actress before her family pushed her to study accounting. and her father is surprised. She wears what her family thinks looks good on her. She doesn’t even have a favourite colour in her life. Miloni conforms to her family’s expectations, donning attire they find appealing.
Similarly, Rafi’s life is dedicated to his family’s well-being. He toils away, shouldering the heavy burden of his village home’s debt and single-handedly covering his sisters’ wedding costs. His unwavering commitment extends to fulfilling his grandmother’s desires without hesitation. His nights remind me of Saajan from The Lunchbox. Both are isolated in their own islands.
Symmetry happens From Asymmetries
The movie describes Rafi & Miloni both living for the sake of their family by killing their smiles; they were on the stage of life where they forgot their smile and were going through a monotonous life. In Rafi’s photographs, Miloni is finding her smile, which she lost in between.
At the post office, while sending off a money order, the clerk gently nudges Rafi to consider his own needs for once, suggesting he keep a little money for himself. “Keep some for yourself too, Rafi Bhai,” she advises. Rafi’s life is a testament to selflessness and familial devotion, painting a portrait of a man who lives not for himself but for the ones he loves.
Contrast in two characters: The position, brightness, and frame are louder than my words
Miloni and Rafi face similar challenges, though their lives began very differently. Miloni comes from a Hindu, upper-middle-class urban family, while Rafi is Muslim and from a lower-middle-class family. Their differences are stark, not just in their religious backgrounds but also in their skin tones and how they dress.
There are even moments in the film where people comment on Rafi because Miloni looks so different from him. Yet, at their core, they are the same: both are kind, empathetic, and lonely yet surrounded by people. Rafi is like a gulab jamun, and Miloni is like a rasgulla—both are sweet, yet distinct to those around them.
As the relationship between Miloni and Rafi unfolds, Photograph explained their progression from strangers to connected souls.
Being the Slave of Own Past
A smile
Miloni seems to live in her past, reminiscing about her childhood. She inquires about farm life from her maid and shares with Rafi her fond memories of drinking Campa Cola with her grandfather. There’s a scene where a doctor remembers her as a young, adventurous lady, visiting with her grandfather, Campa Cola in hand.
A smile again
Even in a matchmaking scene, when a man asks Miloni where she would like to live, she answers, “A village.” Surprised, he asks her what she would do there. She tells him, “I will do farming in the morning and take a nap in the afternoon“. Rafi, on the other hand, feels stuck due to his duties.
Who Do Not Move, Do Not Notice Their Chains
As their relationship develops, Miloni and Rafi start to move away from their obedient roles towards rebellion, each in their own way. What disappoints me is that, like Batra’s previous film, The Lunchbox,Photograph also ends with an open ending, leaving us wondering what happens next.
In the middle of the movie, when Rafi and Miloni go to a movie theatre, a rat runs over Miloni’s feet, making her uncomfortable. This scene quickly cuts to Miloni’s study table.
Initially, we don’t see what happens after the movie theatre incident. Ritesh Batra saves this crucial scene for the end, where they have a brief chat, Miloni asks him, “Don’t you want to continue the movie?” and Rafi says, “I know the rest of the story. They will fall in love, but because of their backgrounds, they won’t be together.”
The open ending of ‘Photograph,’ explained as a choice by the director The director wants us to follow the story in a linear style until the ending scene. Here, it becomes clear that both Rafi and Miloni understand their backgrounds and social status and that they are unlikely to end up together in this society. After recognising this reality and their probable future, they decide to go with the flow without saying it out loud.
Nostalgia is an Illusion
The story brings back memories with its use of public phone booths and the classic kaali-peeli taxis, even though smartphones and online cab services are common now. It feels like the story was meant for the last decade. Because of this, while the movie becomes nostalgic, it might not seem as relevant today.
I noticed something similar in Sriram Raghavan’s “Merry Christmas.” There is a dialogue in Photograph where a cola factory worker says: “Our country is big, but its memory is short.” But Photograph will definitely make sure to recall your memories.
Photographs are Footprints
Another notable aspect of the film is the frequent focus on characters’ feet, especially Miloni’s. When she feels nervous, the film often shows her feet moving restlessly.
Since Miloni doesn’t share her thoughts out loud and stays quiet, these shots of her feet help show she’s feeling nervous.
It seemed meaningful that the gift Miloni receives from Rafi’s grandmother is a pair of anklets, perhaps suggesting a wish for her to express her feelings more loud.
Parallel World, Parallel Events
The world of Photograph is not different from the one in The Lunchbox. Both films incorporate traditional elements like letters and photographs in an era dominated by text messages and selfies. The main characters exist in a state of isolation amidst the bustling life of Mumbai, where everyone else seems to be in a rush, and they are left hoping for a change.
In both movies, loneliness plays a critical role, almost acting as a character itself. Both stories gradually evolve after an accidental encounter, forming unexpected friendships and ambiguous relationships among the main characters.
A mix-up with a lunchbox initiates a classic letter-writing romance between Ila (Nimrat Kaur) and Saajan (Irrfan Khan) in The Lunchbox. Similarly, a random meeting at the Gateway of India sparks an impromptu romance between Rafi and Miloni. In each story, there is a noticeable age difference between the male and female leads, highlighting their distinct contrasts.
Same Templates, Different Emotions
Ritesh Batra employs familiar cinematic techniques in both The Lunchbox and Photograph. The Lunchbox starts with imagery of two trains moving in opposite directions, while Photograph captures traffic flowing similarly.
Notably, in The Lunchbox, we hear Deshpande Aunty’s voice without seeing her, and only glimpse the exterior of Ila’s father. Similarly, in Photograph, Rafi’s interactions at the post office feature only the voice of the postal worker, whom we never see, yet who seems to know him well and speak like a well-wisher.
Batra’s way of intensifying emotional scenes diverges from the age-old Kurosawa technique of using close-up shots of face gestures. He emphasises voices over facial expressions.
In Photograph, Batra effectively uses auditory elements multiple times. For example, the woman on the bus questioning Miloni about appearing on a billboard for Miloni’s coaching centre remains unseen.
The introduction of Miloni’s teacher delays showing his face until the scene nearly ends. When a potential suitor’s parents visit Miloni, everyone’s face, except Miloni’s is blurred. Additionally, in the scene where Rafi encounters the Campa Cola manufacturer, the factory setting is blurred, focusing on Rafi from behind, while the background sounds and music convey the scene’s essence.
Same Characters, Same Elements
In The Lunchbox, Ila says Deshpande Uncle always stared at the ceiling fan because he thought his life depended on it. Deshpande Aunty bought an inverter to keep the fan on forever. In Photograph, we also see and hear the ceiling fan a lot. Even after the very first scene of Rafi, it cuts to a ceiling fan. The movie shows some scenes as if we are looking down from where the fan is. Tiwari Ji took his own life with the fan.
In The Lunchbox, Saajan writes that he spent his whole life standing in trains and buses, and he will have to stand even when he is dead as there are no horizontal burial plots left and only vertical burial plots are being offered.
In Photograph, you can see a similar viewpoint from Rafi, he complains to Miloni about the hurry-burry of people in Mumbai. Even Batra added a symbol for the rat-race life of Rafi and his friends. The door of Rafi’s house opens upwards, making it feel like he is living in a box.
Even the elements of death and those haunting narrations are similar in The Lunchbox and Photograph. A woman jumps along with her daughter and commits suicide in The Lunchbox; In Photograph, it’s Tiwari ji, who commits suicide by hanging over the ceiling fan. Even there is a scene where Rafi’s friend Zakir comments over Tiwari Ji, “No one gets peace in Mumbai, not even in death”.
Even the utopian dreams of lead characters are nearly the same in The Lunchbox and Photograph. In the Lunchbox, it’s Ila and her desire to move to Bhutan for happiness.
In Photograph it’s Miloni’s desire to live in a village. They are yearning to move out of the cubicle life of bustling cities. Miloni connected more with people who came from villages, whether it was her maid or Rafi.
Photograph: A Pause Button
Even sometimes, I felt that Miloni was an extended version of Ila’s daughter in the Lunchbox. Mostly, Miloni’s character is inert in the movie, which makes it difficult to read her motivations. For instance, Miloni agrees to play Rafi’s girlfriend, but the film never explains her reasons for doing so.
Ritesh Batra beautifully packed Nostalgia or “those good old days,” in every frame of The Lunchbox and Photograph. The Lunchbox depicted old TV shows, radio shows, video cassettes, and letters. Photograph shows Campa Cola, softies, kulfi, kaali-peeli taxis, money orders, old theatres, and post offices.
“I think we forget things if we have no one to tell them to,”
Saajan (The Lunchbox)
Perhaps this is the reason Ritesh Batra includes such nostalgic elements in his movies. By doing so, he leads us down a path where we too revisit our own childhood memories alongside him. Nostalgia becomes even more delightful when we have someone to share those memories with and look back on the times that will never return.
Sandeep Reddy Vanga’s Animal is streaming on Netflix with 3 hours and 24 minutes of adrenaline pumps. This is not a review, but rather an analysis of the propaganda art and politics of Animal. So, this blog contains spoilers, and if you haven’t watched it yet, skip this.
After Arjun Reddy (2017)andKabir Singh (2019), two films about a sexually desperate misogynistic doctor with anger issues and Preeti obsession, director Sandeep Reddy Vanga returns with Animal. This time, it’s about a toxic patriarchal chain-smoking engineer obsessed with his father.
Animal Movie Poster
The crux of the story is a son protecting his father from animals in an animal park. Despite the script being imbued with his palaeolithic view of human instincts, Sandeep Reddy Vanga managed to infuse it with high adrenaline action, music, and a bloodbath. In essence, the hero is a carnivorous animal in human form, devoid of sin, vision, or empathy, driven only by instincts.
I thoroughly enjoyed the film, although I disagree with a few of Sandeep Reddy Vanga’s perspectives. This film is a commendable mass entertainer.
How Sandeep Ignites the Adrenaline Rush With Animal
Sandeep Reddy Vanga brilliantly incorporates elements that have recently succeeded in commercial movies. Bringing in a weapon dealer, adding a massive gunfight scene, and retro songs like Roja,Punjabi DJ songs & Jamal Jamaloo, created high moments in theatres and on Instagram as well.
The cold-blooded revenge arc, fatherly sentiments, and nationalism (the weapons are made in India scenes) are well-placed. Surprises, such as the bystander-turned-traitor twists and the double climax, the 2-hour (so-called) street fight in the end (a reminiscent of Thallumala)the list is long. The high-adrenaline music is another highlight. Kudos to the long list of music directors from Harshavardhan Rameshwar, Jaani, Vishal Mishra, Shreyas Puranik, Manan Bhardwaj to last but not least: A. R. Rahman.
Forgot to add, the climax scene, inspired by Rolex, is particularly notable. Fans of Leo, Jawan, Pathan, and Arjun Reddy will find Animal a high-adrenaline theatre experience.
Animal’s Anthropology Class & Thrills from the Start
The movie begins with a narration, swiftly moving to a school episode of Ranvijay (Ranbir Kapoor) showcasing his love for his father. One of my favourite scenes follows, filled with A.R. Rahman’s Roja background score,where Ranvijay is now a college boy. The film transitions seamlessly to love at first sight.
Sandeep Reddy Vanga acts like an anthropologist, sharing perspectives on the evolution of poetry. These insights could be used to promote a whey protein brand or a fitness centre. He then progresses Ranvijay’s character arc to highlight his prejudiced and narcissistic nature.
Sandeep Reddy & His Art of Crafting a Predatory Protagonist
Sandeep Reddy Vanga meticulously wrote this character. Ranvijay cries only once in the entire movie. He never shows his vulnerabilities; even when he informs his sister about her husband’s death, he immediately consoles her by suggesting a remarriage. He consoles his wife by stating that happiness is a choice, and there’s a scene where he enjoys biryani made from human flesh (though Sandeep Reddy Vanga doesn’t explicitly show this). With all these elements, Sandeep tells you how umpathetic Ranjvijay is.
I appreciate Sandeep Reddy Vanga’s meticulous crafting of dialogues for Ranbir Kapoor. Ranbir’s dialogues always reflect an animal mindset, like his comments on business expansion or his various lectures. When Ranbir talks about patience and his fights with schoolmates, it reminds me of predators on Animal Planet. Sandeep Reddy Vanga’s portrayal of his hero as a tiger is contrasted with a more dog-like loyalty, treating others as subservient. Sandeep Reddy Vanga has a knack for highlighting character flaws, like Ranvijay’s.
The Subservient Female Roles in Animal Explained
Sandeep Reddy Vanga doesn’t give much importance to female characters like Geethanali, Zoya, or even Reet. They are portrayed as subservient to their male counterparts. Geethanali’s quick fall in love with Ranvijay, perhaps influenced by watching Arjun Reddy, is an example of this. Similarly, Zoya is depicted as submissive to Ranbir’s character. What is most disturbing is that Zoya is even ready to lick his feet for his love.
Rashmika Mandanna & Ranbir Kapoor from Animal
Unfortunately, Sandeep Reddy Vanga’s skill seems solely invested in building the character of Ranvijay. When it comes to the character arc, it only moves in one direction, continually ascending. I believe actions should have consequences, but nothing Ranvijay does in Animal seems to have any.
Sandeep’s Reply for Concerns Around Sexuality, Violence, and Gender Equality
Sandeep Reddy Vanga also tries to counter criticisms of male chauvinism. He addresses consent by having Ranvijay touch Geethanali’s feet and give a lecture on the importance of women in the Paleolithic era.
Ranbir kapoor and Rashmika Mandanna from Animal
If there’s a problem with him slapping her, this time let her slap him. If there are issues with domination and masculinity, let her come to his home, kiss him in front of everyone, and let him praise her physique. He addresses body shaming by giving a spiritual lesson on pubic hair.
If there’s a problem with adult content and gory scenes, let’s have a three-hour blood bath with nudity and discussions of sexual fantasies.
What I really like is the idea of recording the moanings of their first lovemaking and using it to calm his angry wife, that was truly a wow! what an idea moment 🙂 .
So, in simple words, this movie entertains the majority with ease. I was expecting a Tarantino style but got an ultra-mode RGV style. Raw violence, sex, and obsession await you in this movie, sprinkled with a few good father-son sentiments.
The climax scene, with two sons fighting for their father’s honour and love, battling with emotions, and a background song echoing their family connection, made the whole theatre dark and silent without any mobile screen light or murmurs. That’s the power of bringing raw emotions to the screen.
From Ranbir to Tripti Dimri: Explaining Performances from Animal
Ranbir Kapoor, Bobby Deol, Rashmika Mandanna and Anil Kapoor from the Animal movie.
Regarding performances, Ranbir Kapoor establishes himself as a superstar with Animal. Sandeep Reddy Vanga did justice to Bobby Deol fans, though I expected more from Bobby Deol. My surprise was Tripti Dimri, whose screen presence was mind-blowing despite limited screen time. Charu Singh and Anil Kapoor did their parts as Ranbir’s parents with ease. Saurabh Sachdeva delivered a killing performance as Bobby Deol’s brother, especially in the climax. Rashmika gave a decent performance, possibly her best since Kirik Party
Why is it Animal ? Animal Explained
Let me explain my views on why the film is called Animal by Sandeep Reddy.
The film explores the more primal, instinctual aspects of human nature, as shown in how Ranbir celebrates his heart surgery and how Abrar releases his pain of loss. In Sandeep Reddy Vanga’s Animal park, the lead male characters operate based on the pleasure principle, seeking immediate gratification. The climax fight is reminiscent of the survival of the fittest theory, living in a world where the law of nature prevails.
In this movie, after Papa,SWASTIK is the most highlighted word. It’s their family business, indicating a blend of traditional values and a darker quest for power (Nazi approach).
The tagline of Swastik, “Power, Progress & Victory”, is repeated by Ranvijay during his oath of vengeance. As per psychologist Carl Jung’s concept of the shadow,this tagline could be seen as manifestations of Ranvijay’s shadow, where his animalistic traits (aggression, dominance, the pursuit of power) are embraced and externalised as his personal and corporate ethos.
Animal & Sandeep Reddy Vanga’s Propaganda Art
Regarding opinions, my friend argued,
“How conveniently do we forget that Scorsese used slow-motion and rousing soundtracks for despicable characters in ‘Goodfellas’ and ‘Casino’, and when Sandeep Reddy Vanga does an extreme Indian version of that, it’s suddenly ‘glorification’?”
Robert De Niro & Martin Scorsese
As a die-hard fan of Scorses, I feel Martin Scorsese never portrayed Travis Bickle or Jimmy Conway as heroes, nor did he justify their actions. His characters dealt with consequences, unlike in Sandeep Reddy Vanga’s Ranvijay. This is where Sandeep Reddy Vanga falls short as a responsible artist. I believe he is obsessed with certain ideologies and celebrates and promotes them through his movies. Scorsese’sRaging Bull highlighted male insecurity in 1980.Can we expect such a film from Sandeep Reddy Vanga?
Toxic masculinity is a propaganda tool for promoting patriarchal beliefs. Ranvijay’s words to his sister about killing any of her choices he dislikes, and his actions as a school kid stepping in with a gun to protect his sister, and delivering a lecture to his father suggest a patriarchal mindset. That’s where he fails to responsibly handle his craft.
These kinds of movies explore complex ethical and moral questions, often set within a historical or cultural context. They dive into themes of honour, justice, and the human conditions.
Central to these movies is the element of combat, whether it’s the swordplay of samurai films or the martial arts in movies like ‘Crouching Tiger,’ or even the Gatling gun action seen in post-‘Kaithi’ Indian cinema. Each film employs intense drama to explore its themes and develop its characters.
The drama often unfolds in historical or fantastical settings, adding depth and a sense of grandeur. Another common feature is their epic scope, evident in their narrative scale, the depth of their themes, or their visual magnificence.
Now, SALAAR, knowingly or unknowingly, belongs to this category of Ethical Combat Drama.
Why Seven Samurai Is a Perfect Ethical Combat Drama
Before diving into SALAAR, let me share why Seven Samurai and Crouching Tiger, Hidden Dragon are my favourites in the Ethical Combat Drama genre.
Seven Samurai Title Card
I’ll focus on Seven Samurai, as it’s more widely recognised compared to Crouching Tiger. The portrayal of protagonists in this film goes beyond them being merely skilled warriors; they are depicted as complex characters, each with their own moral compass and emotional struggles. This depth elevates the film above a typical action drama.
Contrast and Juxtaposition
Akira Kurosawa, the director, masterfully uses contrast to highlight the heroes’ qualities. For example, the samurai’s skills and moral codes are often juxtaposed against the bandits’ brutality or the villagers’ fear and helplessness. This stark contrast not only showcases the samurai as protectors but also as warriors of virtue.
A Scene from Seven Samurai
Dynamic Action Sequences
Kurosawa’s dynamic and innovative action sequences, particularly in fight scenes, effectively showcase the samurai’s skills and bravery. The choreography, camera work, and pacing all contribute to portraying these characters as larger than life.
Heroic Actions in Introduction Scenes
A powerful narrative technique Kurosawa employs is introducing a character in a moment of heroism. This approach establishes their role and capabilities within the story efficiently, without relying heavily on dialogue or extensive backstory.
It leverages the psychological ‘halo effect,’ where our impression of a person in one aspect (like heroism) influences our overall perception of them.
Kurosawa’s frequent use of close-up shots is pivotal in capturing and conveying characters’ emotions. By focusing on their expressions, especially in moments of fear or awe, he magnifies the impact of the situation and the presence of the heroes. For instance, scenes where villagers express fear or reverence towards the samurai are made more poignant through tight shots. This technique effectively transmits the characters’ fear, awe, or respect to the audience.
Symbolic Imagery and Metaphors
Kurosawa also masterfully employed symbolism to deepen his storytelling. He used elements of nature, like rain or wind, to mirror the mood or internal state of the characters. This adds a rich layer to their portrayal.
A Rain Shot from Seven Samurai
Consider the scenes with gusty winds, which set a tone of unrest and turmoil. The natural landscape is another vital element. In Seven Samurai, the rugged, rural setting underscores the themes of the film: the harshness of life for the villagers and the simplicity and purity of their existence. This starkly contrasts with the life of the samurai, caught between their code of honour and the reality of a changing world.
Oh! Wait! Why am I writing all this while I intend to talk about SALAAR?
Because SALAAR tried all the elements that I have shared in a mediocre way without much conviction.
SALAAR falls short as an extraordinary Ethical Combat Drama, even though it had the potential to be one. As I said, it’s not extraordinary, but it’s still a decent film in this genre, albeit lacking a convincing central character.
The World of Khansaar in ‘SALAAR’
A Poster from Salaar
Director Prashanth Neel’s strength is world-building. With Khansaar, he transports you to a new world and keeps you engaged with multiple storylines. However, for those who have seen Ugram, there may not be any surprises. They might not enjoy this ‘old Khansaar in a new bottle,’ apart from some grandiose action sequences and a lacklustre actor.
Prabhas With A Hangover & Neel With A Template
Prashanth Neel’s protagonists typically embody a machismo figure who abides by his mother’s words. However, in this film, the mother sentiment is overshadowed by the theme of friendship. I commend Neel for not overusing Prabhas in terms of dialogue or action.
Prithviraj & Prabhas from Salaar
Personally, I feel Prabhas hasn’t given his 100% in his recent movies, seemingly relying on his stardom and compromising his skills and effort. To be blunt, his performance appears as if he is acting with a hangover.
Prithviraj’s Mastery vs Neel’s Directorial Gambit
I want to recognise Neel again as a potential director because his efforts to make Salaar a comeback film for Prabhas are evident, even though Prabhas remains the same. Neel manages to extract the best from Prabhas with his slow-motion walking shots, dialogue delivery, and action sequences.
Prashant Neel
In every single frame, Prithviraj, as Varadha, excels, highlighting the contrast with Prabhas’ lacklustre performance. The difference is stark and makes it easy to understand why Neel shouldn’t have cast such a strong performer opposite Prabhas.
Prithviraj’s Game of Thrones Analogy and the Reality of SALAAR
However, let me clarify: SALAAR mainly revolves around Deva and Varadha, with other characters playing minor or just fancy roles in the screenplay. This fact alone challenges Prithviraj’s comparison.
When it comes to Ethical and Moral Dilemmas, Combat and Strategy, Cultural and Historical Elements, and especially intricate character dynamics – all hallmarks of Game of Thrones – SALAAR doesn’t quite measure up, except in visual grandeur.
In my opinion, PS-1 & PS-2 would be far more appropriate comparisons to Game of Thrones.
Last But Not Least
In summary, SALAAR presents a mediocre attempt at Ethical Combat Dramas because of its shallow characters and massy star obsessions. But I admit that it treads a fine line between potential greatness and missed opportunities.
While it may not fully live up to the towering expectations set by comparisons to epics like Game of Thrones, it still carves out its niche in a genre rich with few moral complexities and thrilling action.
For those who want to try Ethical Combat Dramas and are looking to explore further, I recommend trying classics like ‘Seven Samurai’ and ‘Crouching Tiger, Hidden Dragon’ which are masterclasses in this genre.
Merry Christmas, directed by Sriram Raghavan, is a beautiful film, especially if you like slow-paced yet engaging movies like the Before trilogy. Merry Christmas uniquely blends the romantic drama of Wong Kar Wai with the suspenseful elements of Hitchcockian noir thrillers.
Merry Christmas Title Credit
In essence, it’s reminiscent of Thiyagarajan Kumararaja’s Ninaivo Oru Paravai,which seamlessly fuses these two elements. It’s not surprising that the director, Sriram Raghavan, mentioned Thiyagarajan Kumararaja as an inspiration.
Retro Charm & A Mood For Love, Sprinkled with Witty Black Humour
Merry Christmas begins with a note saying,‘When Mumbai was known as Bombay.‘ The film takes place in Bombay during the 1970s and makes you feel nostalgic.
The colours, music, and songs in the film are sync with the era and make the experience even better. The story revolves around Albert (Vijay Sethupathi) and Maria (Katrina Kaif). Two souls wandering in the neon-lit lanes of Bombay, whose lives intersect in a serendipitous Christmas encounter.
Merry Christmas Title Card
It’s more of like a O.Henry short story; whatever you are reading and imagining in the first half will get a 180 degree shift in the later half.
The movie’s pacing is deliberate, slowly building up to a climax. If you are expecting a thriller like Andhadhun, you may get disappointed. Merry Christmas is a cute black comedy.
Perfect Blend of On Screen & Off Screen Efforts
Vijay Sethupathi is outstanding in his role. Watching him dance with Katrina Kaif, who is famous for dance numbers like ‘Chikni Chameli,’ is a treat for the fans of both. You can’t help but be drawn in by Vijay’s cute dance performance.
The film’s homage to the bygone era of Bollywood, Vivaldi’s ‘Four Seasons’, background score by Daniel B George, all these adds layers to its storytelling, makes ‘Merry Christmas’ more than just a movie set in the 70s. It feels like it truly belongs to that time.
Scenes from Merry Christmas
Cinematographer Madhu Neelakandan deserves a special applause for meticulously capturing the essence of the setting, focusing on even the smallest details. The vibrant red-blue-green colour palette that fills each frame is so catchy and sync with the moments. However, the close-up shots of Katrina Kaif are a bit of a letdown. Personally, I felt that these moments were jarring, as Katrina seemed to struggle with conveying the subtlety of emotions required for these shots.
Sriram Raghavan’s Yadhoom: A Merry Christmas with Self-Discovery
Sriram Raghavan’s Merry Christmas not only shines with performances but also with its intriguing scripting.The movie looks at ‘Yadhoom’ moments – those instances of clarity and realisation of one’s true purpose in life.
Tamil veteran actor Rajesh plays a kind man who took care of Albert’s mother, Celine, before she passed away. He also looks after her apartment. He gives Albert a bottle of homemade wine called Yadhoom.
But what does Yadhoom mean?
Rajesh explains it like this:
‘We spend our lives working, raising families, and doing other things. But we’re all waiting for a special moment. When that moment comes, it’s like you suddenly know what you’re supposed to do. That’s what Yadhoom is about.‘
Merry Christmas (2024)
Sriram Raghavan carefully places his characters right before the Yadhoom moments in their lives. He shows us how they find out who they are and what they want.
Before he starts his night adventure Albert reads a quote “Night is Darkest Before The Dawn”, this blend with the eastern version of Yadhoom philosophy where challenges and sufferings lead to self-realisation. Hope you have watched Lion Kingwhich beautifully portrayed this philosophy.
Albert’s return to Bombay is more than just a trip. It’s a journey through his past and into his own heart. The idea of Yadhoom is key in the movie.
The characters of Albert and Maria are skillfully crafted to evolve towards this Yadhoom realisation. Their interactions, laden with yearning and a sense of lost time, gradually lead them to their respective Yadhoom moments.
Complementary Yadhoom Arcs
The characters, Albert and Maria, are created in a way that Maria is skeptical, fragile and is more sure of her motivations than her decisions, while Albert is almost too careful, yet easy going.
Katrina Kaif & Vijay from Merry Christmas
There is a dialogue from Albert: “I’ve left a lot of things unfinished in life, but never a bottle of chilled beer,”. These complementary arcs in their behaviour is what makes them complete in the end while talking about the agony of remorse and awaiting.
Sriram Raghavan’s storytelling is subtle, he cleverly uses the festive atmosphere of Christmas to create a striking contrast with the deep self-reflection experienced by his characters. This contrast serves to highlight their personal growth. Initially burdened by their pasts and uncertainties, Albert and Maria evolve throughout the film. They move from being individuals weighed down by life’s complexities to people who gradually come to embrace the concept of Yadhoom.
Yadhoom, Albert and Maria: Philosophical Layers in Merry Christmas
Merry Christmas is more than just a black comedy on screen. It introduces us to the deep ideas of some philosophies.
Katrina Kaif & Vijay Sethupathi playing Flying Wish Paper Swan
Existentialism
For example, the film reflects existentialism. This is the belief that people must create their own meaning in a world that doesn’t have a clear purpose. Albert and Maria are characters struggling to escape their past and the truth, and in the end, they use what happens in their lives to make their own meaning and purpose for their present.
Stoicism
The film also shows ideas from Stoicism. Stoicism consists of wisdom, justice, courage, and moderation.
This ancient philosophy teaches that people should accept what happens in their lives and use these experiences to grow and become better people. We see this in how Albert and Maria deal with their past and how they change to find their purpose. In the climax there is a shot where Maria burns a Teddy and keeps two fish in the flush tanks. The way that night ends was narrated beautifully by Sriram and captured elegantly. by Madhu Neelakantan.
Even there is an instance were, Albert talks about Violence, he says: “Violence is better than the sufferings from non-violence”. This reminds me of Dharma philosophy.
In summary, ‘Merry Christmas’ is not just a black comedy thriller but a philosophical journey that resonates with the heart and mind. Echoing the essence of trendy Ikigai, Existentialism, Dharma,and all other such philosophies, Merry Christmas inspires us to explore our own paths, encouraging us to find our unique place in the world.
The saga of the Pandava brothers and Draupadi, their final journey to heaven, unfolds the curtain of sin, love, compassion, and unwavering adherence to Dharma.Here we are looking at why the righteous Pandavas suffered.
The Pandavas anointed Parikshit as the crown prince of Hastinapura. They appointed Yuyutsu as the guardian of the young prince. Yuyutsu, born to Dhritarashtra and a Shudra woman, was a beloved figure among the Pandava brothers. He had shown courage to stand with them on the path of Dharma and was considered a son-like to them.
From Hastinapura, Pandava brothers and Draupadi set out walking in the northern direction. In one word, ‘Vanaprastham’
Pandava’s Maha Vanaprastham
Draupadi: The First Loss
On their journey, the first to surrender to mortality was Draupadi. Bhima saw this first, and he couldn’t bear that. His love for Draupadi was profound; he was the one who loved her most.
He fiercely avenged her dishonour in the Kaurava court with blood. During their exile in the forest, Bhima diligently ensures Draupadi’s safety and comfort. How could we forget the Kichaka chapterfrom Mahabharatha? Even when Arjuna was hesitant, Bhima prioritised Draupadi. Even Bhima encountered Hanuman to fulfil Draupadi’s desire for a flower.
Bhim washing Draupadi’s hair with blood (Image credit: insta/saptasarka)
Bhima collapsed, seeing Draupadi lying motionless on the earth. But the Pandava brothers knew they had to keep going. When others were walking, Bhima asked Yudhishthira, the wisest among all, ‘Why did Draupadi die? She did nothing wrong.’
Yudhishthira said, ‘Our journey is about more than just living and dying. We shouldn’t think too much about it. Draupadi was good, but she was only meant to come with us until here.’ Bhima said, ‘But she was our wife! She should always be with us!’ Yudhishthira calmly said, ‘It’s not up to us. What happened to Draupadi was because of what she did in her life.
Draupadi: Where Love meets Sin
Draupadi loved all five of us, but deep in her heart, she had a special place for Arjuna, the first one to win her heart. This natural inclination of her heart highlights the nuanced psychology of love and attachment in women. A woman, even if she is with many men, can deeply love only one. Maybe he was her first love, or maybe he was the one who made her wet for the first time or who offered her a shoulder in her darkest hours.
Yudishitra, Wisest among the Pandava Brothers
Draupadi with Pandava brothers (Image credit: Hotstar)
Bhima, Draupad’s sin was her lust towards Arjuna, but remember, she was noble and righteous, and that’s why she could travel with us this far. I understand your deep feelings for her. You have always protected her. Only Arjuna could truly win her heart, beyond her physical being. And for the four of us who came after, she never denied us fairness and love. She never showed dislike or boredom for our sake. Draupadi was like a goddess! let’s move on, Bhima.’
The Downfall of Sahadeva, Nakula, and Arjuna
During their ongoing journey, Sahadeva was the next to die, followed by Nakula. Yudhishthira explained to Bhima that Sahadeva’s pride in his wisdom and Nakula’s pride in his beauty were their downfalls.
Then, it was Arjuna’s turn. He also surrendered to Yama, the god of death. Bhima again asked Yudhishthira why. Yudhishthira said, ‘Arjuna once vowed to defeat all enemies by himself. This boastfulness and wrath, along with his envy, were his sins. That’s why he couldn’t continue the journey.‘ Then they continued walking
Losses Along the Way: Fall of a Gentle Giant
When Bhima was about to fall, he asked Yudhishthira, ‘Elder brother, I am about to fall. What’s my fault?’ Yudhishthira replied, ‘Bhima, you are dear to me. But your pride in your strength and your love for food (gluttony) were your downfalls.‘ Yudhishthira continued his journey alone, as his brothers’ deaths did not stop him.
Bhima Fighting against Asur
At Heaven’s Gate: Righteous Among Pandavas
From the day they left Hastinapura, a dog had been following the Pandavas. Even as others fell during the long journey, the dog stayed with Yudhishthira. When Yudhishthira reached his destination, the gates of heaven were ready to welcome him. Indra arrived in his chariot and said to Yudhishthira, ‘Climb into the chariot! There is no one in heaven more worthy than you to join us. Don’t hesitate, Yudhishthira, come with me!
Yudishtira and Indra
Yudhishthira told Indra, ‘I’m not completely happy with this blessing you’ve given me.’‘What? You don’t want to go to heaven?’ asked Indra. Yudhishthira replied, ‘No, Lord! The Pandavas and Draupadi started this journey together. They all died on the way, and I don’t even know what happened to them. Going to heaven alone will bring me more pain than joy. My brothers are my life, and Draupadi is part of our soul. Please tell me where they are now.’Indra smiled and said, ‘Yudhishthira, the world has never seen a brother as loving as you. You often seemed weak because of your love for your family. Is this really commendable? Is it that hard to let go?‘ Yudhishthira, with a lifeless smile, replied, ‘A person without love for his dependents doesn’t deserve to live on earth. My love for my brothers and Draupadi is beyond my senses. Please help me!
Indra told Yudhishthira, ‘Your brothers and Draupadi were good people. They have already reached heaven after leaving their bodies behind. But they did not have the greatness you have, so you are allowed to enter heaven while still alive. Climb into the chariot. You can trust my words.’ Yudhishthira responded, ‘I have one more request.’ Indra looked at Yudhishthira sceptically.
Yudhishthira’s Conflict of Heart and Duty
Yudhishthira said, ‘I cannot abandon this dog that has been with me until the end of my journey. Please let it come with me on the chariot.’ Indra laughed a little and said, ‘You know that dogs cannot enter heaven. Yet, you insist on this worthless animal.’
‘No! Lord Indra, go ahead without me. This dog will always be with me. If I leave this dog behind, all my good deeds for heaven will be worthless. I will never abandon those who depend on me!’
Indra said, ‘You left your brothers and Draupadi on the way. Do you care more for this insignificant dog?’ Yudhishthira replied, ‘My brothers and Draupadi died along the way, and I couldn’t bring them back to life. But this poor animal is still alive and has been with me through this long journey. I cannot abandon it.’ As Indra looked at Yudhishthira with compassion, the dog transformed. It was Dharma Deva, the god of death, who had followed him in the form of a dog. He said, ‘Son, your compassion has filled me with pride. You have passed a test beyond ordinary trials. The world will praise you as Yudhishthira, a name synonymous with dharma. Your words and actions have always been rooted in righteousness, and you have never strayed from this path. Go with Indra.’
Yudhishthira boarded Indra’s chariot, and they soared through the sky, eventually reaching heaven.
The Celestial Reunion of Pandavas
He entered heaven and saw Krishna sitting on a majestic throne, with Arjuna beside him. They stood up and joyfully welcomed Yudhishthira. He found Karna among the twelve Adityas and bowed to him. Karna smiled and welcomed his brother. Bhima was among the Maruts, Nakula and Sahadeva were near the Ashwini Kumaras, and they all greeted Yudhishthira with respect. Draupadi, shining like a bright star, was there with their five sons. They all bowed to Yudhishthira. He saw Drona blessed by Brihaspati and Bhishma seated among the Vasus, to whom he bowed. Duryodhana, smiling on a special throne, stood up to honour Yudhishthira. In heaven, there is no enmity. Duryodhana, having died a heroic death and fulfilled his duties well, had earned a special place in heaven. (Even Yudishtira did a minor sin and he faced some challenges at Heaven, but we skipped that part since it’s too long for this)
Beyond Myths: Love, Loss, and Life’s Eternal Lessons
The reunion with his brothers, Draupadi and Duryodhana, each radiant in their own right, symbolised the eternal cycle of life, death, and redemption. So, this story might be more than just a myth because it reveals a timeless truth: Draupadi’s quiet love for Arjuna, even as Bhima loves her deeply, shows us how complex our hearts can be. It tells us that even wise and strong people like Yudhishthira struggle with letting go of those they love. Finally, it tells us that, in the heart of forgiveness and empathy, lies the true path to liberation, the Moksha.
