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Ravi Kumar K 993 days ago

Things are not as common as seen

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Not very good

Ravi Kumar K 1018 days ago

A very good drama must watch entertainment for everyone

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Adarsh parthan 1052 days ago.

BAD casting, cant compare with Ayushmann Khurrana, <br/>better to watch Andhadhun again

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Bhramam movie review: Prithviraj Sukumaran does wicked well. Very, very well.

Bhramam might have elevated itself to a whole new level with more cultural shades and subtleties. In short, by being an adaptation rather than a remake of Andhadhun

What Bhramam (Mirage) does for you depends a lot on whether you have seen the Hindi film on which it is based. Sriram Raghavan’s 2018 hit Andhadhun was superlative in all departments. It featured Tabu and Ayushmann Khurrana crossing swords in a tale of deceptions that spiral out of control and the utter randomness of life. Raghavan had taken a kernel of inspiration from a French short, The Piano Tuner , and spun it into one of the best Hindi films of the 2010s.

Cinematographer-director Ravi K Chandran’s Bhramam is a Malayalam remake of Andhadhun in which Prithviraj Sukumaran plays Ray Mathews, a man introduced to us as a pianist in Kerala who is blind. He meets Anna (Raashi Khanna) by accident and starts performing at the restaurant she runs with her Dad. Here Ray encounters the affable retired movie star Udayakumar K. (Shankar), who is now a businessperson.

When he is not negotiating multi-crore deals or fussing over his ambitious, glamorous young wife, Mimi (Mamta Mohandas), Udayakumar spends his days watching, rewatching and mooning over his old movies. Ray and Mimi’s worlds unexpectedly intersect one day, dragging them down a path where each must save themselves from the consequences of their own and the other person’s deeds.

In terms of storyline, Bhramam is more or less faithful to Andhadhun . Every scene of the first film is still embedded in my memory, so I was surprised to find myself drawn into the plot once again as lies pile up on lies, and individuals who think they have outsmarted fate find themselves outsmarted in ways they could not have imagined.

In the first half, this thriller-cum-black-comedy is funny and pacy. The second half too remains largely entertaining, even if it lags occasionally.

Prithviraj is deliciously wicked as Ray, and knows precisely how to do evil-comical without being offensive. He mines his innate charm just enough to make it hard to pass judgement against Ray even when he appears to be conscienceless.

Mamta does cold-heartedness blended with bouts of conscience not quite as brilliantly as Tabu, but she too is very good.

Shankar is an apt choice for Udayakumar. He was a star in the 1980s, but soon faded away. His co-actor in his debut Malayalam film Manjil Virinja Pookkal , Mohanlal, went on to become one of Indian cinema’s biggest stars. An awareness of Shankar’s journey brings with it a tug at the heartstrings while watching Udayakumar dwelling on the past. The tug turns into a full-on wrench when Mizhiyoram from  Manjil Virinja Pookkal  plays at a poignant moment in  Bhramam and Shankar’s long-time screen partner, Menaka Suresh, appears in a cameo as Udayakumar’s former co-star.

A lot of  Bhramam  is praiseworthy, but it still does not match up to Andhadhun  (and that poorly generated wild beast in the film is far from being the only reason).

Though Bhramam is longer by about 15 minutes, somehow Andhadhun  packed more detail into the characters’ emotions, motivations and actions, and the philosophies behind the premise. Even the pivotal con in the story is sustained by the hero in the original far longer and better than Ray manages it in Bhramam .

In Andhadhun , the camera gave us generous views of Ayushmann Khurrana at the piano, from multiple angles, with full-length and mid shots, to convince the audience that the actor was actually playing and not merely mimicking the movements of a piano player. This added to the immersive feel of that film and its unrelenting energy levels. Prithviraj certainly does not look like he is faking it, but the shots of him at the piano, for the most part, seem designed to camouflage more than they reveal.

Bhramam ’s music by Jakes Bejoy is fairly attractive but does not equal the infectious verve of Amit Trivedi’s songs or Daniel B. George’s background score for the Hindi film. The awkward English lyrics for ‘ Lokam - Who Wants It’ don’t help at all.

The manner in which the story has been transposed from Maharashtra to Kerala merits a discussion. The shift has brought with it a significant difference. The hero’s religious identity – he’s Christian sans stereotyping – is in keeping with a beautiful, long-running aspect of Malayalam cinema: the normalisation of religious minorities as protagonists. This phenomenon is a reflection of the progressiveness of Malayalam filmmakers combined with the religious heterogeneity in Kerala, which is greater than in any other state in the country, and the fact that Christians and Muslims are far more visible in mainstream society in Kerala than they are in the north. Apart from this though, there are not enough socio-cultural nuances to distinguish this script from one that might have been set in a cosmopolitan city elsewhere in India.

There is a post-interval scene in Bhramam that offers a clue to how much more this film could have been. Two Christian characters are chatting about a terrible crime they are about to commit. One says, “There is no sin that cannot be absolved if you go to church and pray,” then adds hastily, “That does not mean you should confess this in church.” Moments later, a Hindu character who is the gang leader is beginning work on their criminal operation when his phone starts ringing incessantly. His ringtone is a specifically Hindu chant. This is another beautiful aspect of Malayalam cinema: the courage that writers and directors have to be overtly cynical about religion per se and to take swipes at all faiths, whether of the majority or minority communities instead of critiquing minorities alone and/or stereotyping, caricaturing and demonising them.

This brief passage is distinctively Malayalam cinema, I do wish Bhramam had more where that came from.

The fact that I enjoyed this film overall despite these criticisms and despite my raging love for Andhadhun speaks volumes though. The high bar that Malayalam cinema – the Malayalam New New Wave in particular – has set for itself is what makes it impossible not to wonder how Bhramam might have elevated itself to a whole new level with more cultural shades and subtleties. In short, by being an adaptation rather than a remake. Be that as it may, this film belongs to its leading man. Prithviraj Sukumaran does wicked well. Very, very well.

Rating:3.5 (out of 5 stars)

  Bhramam is streaming on Amazon Prime Video

  (Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema and socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad)

  For Anna M.M. Vetticad’s review of Andhadhun , click here

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Bhramam Movie Review: Prithviraj, Mamta and Raashi lift this effective remake of Andhadhun

Amazon prime video's bhramam, directed by director ravi k chandran, is the official malayalam remake of sriram raghavan's andhadhun. the malayalam version of the film is effective because of its seasoned performers..

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In 2018, director Sriram Raghavan’s Andhadhun, starring Ayushmann Khurrana, Tabu and Radhika Apte, made everyone sit up and take notice of him. Andhadhun became a blockbuster for its quirky story and tons of twists and turns. Three years later, the regional cinema industry wanted to give its audience a taste of Andhadhun and announced remakes.

Only two weeks ago we saw Maestro, the Telugu version of Andhadhun. Now, it’s Bhramam, which is the Malayalam remake of Andhadhun. The story is about a pianist, Ray Mathews (Prithviraj Sukumaran), who pretends to be blind to get more opportunities. Due to a strange turn of events, he becomes the prime witness to the murder of yesteryear actor Uday Kumar (Shankar) by his wife Simi (Mamta Mohandas) and her lover Dinesh (Unni Mukundan).

Both Maestro and Bhramam stay true to Andhadhun with minor changes to suit the sensibilities of the Telugu and Malayalam audience, respectively. However, Bhramam is more effective than Maestro, courtesy of the terrific performances from the star cast.

Bhramam’s story is set in Kerala and the minute changes are the ones that take the film closer to the audience. Whether it’s the cameo of Shankar and Menaka or the inclusion of CID Ramadas or the BGM of Vikram Vedha, the changes bring Bhramam to the Kerala audience. The remaining portions are almost a scene-by-scene recreation of Andhadhun.

As Raashi Khanna said in her interview to IndiaToday.in, what can possibly go wrong in remaking a film as successful as Andhadhun. And she was right. Despite being a recreation, Bhramam works effectively because of its lead cast and its terrific performances. Director Ravi K Chandran, apart from retaining the soul of the film, is also successful in recreating the dark humour portions, which was quite missing in Maestro.

Prithviraj Sukumaran adds novelty to his character with his seasoned performance. When he discovers that he is in deep trouble during the interval, his performance moves you and makes you feel for his character. But, it is Mamta who takes the cake. She reprised the role of Tabu, and made it her own with her charm.

Unni Mukundan’s Dinesh looked a bit wooden at the start, but in the second half, his performance stood out as well. Raashi Khanna as Anna is adequate to the story. When it comes to remakes, comparisons are inevitable. It is the performances of the actors that make or break the remake. In this case, Bhramam was as close to what Andhadhun was.

For those, who have watched Andhadhun, Bhramam might fall short a bit. But, for those who haven’t watched Andhadhun, Bhramam can be devoured and enjoyed for its delicious twists and turns. Bhramam is currently streaming on Amazon Prime Video, and Andhadhun is available on Netflix.

3.5 stars out of 5 for Bhramam.

Bhramam is streaming on Amazon Prime Video.

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Bhramam review: Bumpy ride on a riveting track

It's always an uphill task to remake a film, whose original version is exceptional. First of all, there is a challenge in exploring a suspense that is no more there and then it has to be at least close to the first one in terms of style in storytelling. Bhramam, starring Prithviraj Sukumaran and Mamta Mohandas in lead roles, has always had these hurdles right from the word go. Directed by Ravi K Chandran, the Malayalam film based on the critically acclaimed Hindi movie Andhadhun has been released on Amazon Prime. 

After a jittery start the saga climbs on track and moves ahead apace with the rhythm of the original movie. You may wait to watch what's in addition to a tale that had once set the senses fizzy. Of course, performance would be counted as prime since we know the story already. The backdrop, suaveness of actors and the visual brilliance lend a freshness that is unmatching and will carry you to a long distance. The narrative very effectively recreates the turbulence and holds our attention till the credits roll up. 

As the story progresses, we meet Ray, played by Prithviraj, a pianist, who is 'blind' and ambitious, and waiting to move to Europe. He lives in an apartment of a convent. His music is loved by one and all around him. One day, a girl crosses his path and the minor accident connects them. The girl's affection towards the man and his music earns him a chance for a jig at her dad's cafe. Udaya Kumar (Shankar), a yesteryear actor and now a real estate business tycoon, is overwhelmed by Ray's music and demeanour. He invites Ray to his residence to perform to make it a surprise gift for his wife Simi (Mamta Mohandas) on their wedding anniversary. 

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The eventful journey of Ray, the 'blind' pianist, from the moment he sets foot in the house of Udaya Kumar and the mess he is embroiled in thereafter form the course of the story. Prithviraj at his flamboyant best keeps the frames graceful throughout the movie. He essays Ray's character, his whims, foibles and turmoil with elan. Meanwhile, Raashi Khanna as Anna presents herself as a tender, innocent girl who falls for Ray instantly. 

Performance-wise almost all actors have been immaculate. Mamta Mohandas displays a matchless maturity in exuding the agony, confusion or viciousness her character undergoes. Slipping into a darker shade, Unni Mukundan nails the character of C I Dinesh. Shankar as Udaya Kumar, Sudheer Karamana as SI Soman, Jagadeesh as Dr. Swami and the rest of the cast remain well-attached to the narrative. 

While the power of the story keeps us glued to the screen what have cost it dearly are the melodramatic dialogues and the mawkish reactions of characters. They appear now and then throughout the movie like sutures that leave the sequences unnatural and the drama incoherent. The jarring of the dubbing is clearly evident. The subtle humour, which was attempted painfully at odd intervals, doesn't seem to work either. 

Ravi K Chandran's camera has captured Kochi in a distinct hue that is fresh and outlandish. Jakes Bejoy's music is novel and refreshing. Bhramam will be a fabulous treat for those who haven't watched Andhadhun, and for those who have seen it, a revisit would be inevitable.

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Bhramam review: O ‘Andhadhun’, where art thou?

‘Bhramam’, starring Prithviraj, Mamta, is a remake of 2018-hit ‘Andhadhun’

It’s not often that Malayalam cinema sees a remake of a Hindi film. More so in the recent past. Why, you ask? Is it because the south-Indian audience - especially Malayalis - is more exposed to Hindi cinema than the other way round? Or, is it because the Malayalam film fraternity in general and the audience in particular, prefer original content over remakes? It’s difficult to put a finger on it. The flow, as far as remakes are concerned, has been pretty much from south to north.

Which is why the Malayalam remake of the National Award-winning Hindi film Andhadhun evoked a lot of interest among Malayalis. It has already been made in Telugu ( Maestro ) and will soon be released in Tamil as Andhagan .

In Malayalam, it was christened Bhramam , meaning mirage, and is now premiering on Amazon Prime (the original film is on the rival OTT platform!). Interestingly, Andhadhun itself was inspired by a 2010 French short film L'Accordeur (The Piano Tuner) about a blind pianist.

Andhadhun was also about a ‘blind’ pianist who unwittingly gets caught in a murder case and how he comes out of it. What worked in favour of Sriram Raghavan’s film was that the setting and story were brilliantly relocated to Pune, with a stellar cast comprising Ayushmann Khurrana, Tabu and Radhika Apte, a taut script and Amit Trivedi’s memorable music.

Cinematographer-turned-filmmaker Ravi K. Chandran’s Bhramam stays true to the soul of the Hindi original – almost scene by scene. Which seems to be its undoing. For anyone who has watched Andhadhun , it becomes easier to compare the two films, with the remake standing to lose more then, than gain. Agreed the setting is Fort Kochi and not Pune (Honestly, the beautiful locales in Fort Kochi are hardly explored, despite the director being an ace cinematographer himself). Agreed that Bhramam , too, has a stellar cast in the form of Prithviraj and Mamta Mohandas. But is it as seamless and riveting as Andhadhun ? Do the performances match up to that of Khurrana or Tabu or even Apte? You be the judge of that.

Also, when twists form the backbone of a film, as in the case of Andhadhun , the remake is bound to start a lap behind as there is hardly a surprise element for a viewer who has watched the original. This is where an adaptation is a far better option than a scene-by-scene remake.

Of course, Bhramam replaces the CGI rabbit with an even worse CGI wild boar (do keep ‘an eye’ for the boar!) and brings in CGI in the climax, too (Why, oh why). Ray Mathews (Prithviraj) has his own reasons for being ‘blind’, which are a bit different from that of Akash (Khurrana) in the original, but equally unconvincing.

Ray Mathews. Isn’t it too much of a coincidence that he, who lost his eyesight at 14, shares his name with legendary blind pianist Ray Charles? And in case, you missed it the first time, there’s a framed poster of the 2004 biopic Ray in Mathews’s house. There are other in-your-face moments like these when one feels that the director should have trusted the intelligence of the audience and let them make the connection or dropped it completely. Andhadhun did that wonderfully.

Both Prithviraj and Mamta are brilliant actors, but they pale in comparison to Khurrana and Tabu. Khurrana had, reportedly, spent years learning to play piano and also picking up the mannerisms of the blind, which showed in Andhadhun . Prithviraj has given it his best shot but …. Tabu’s age worked perfectly for her character in Andhadhun , not to mention the nuances she brought into the role. Mamta, as Simi, falls a bit short on both fronts. Khanna as Anna, though good, is no Apte, and her inability to speak Malayalam makes it jarring like a discordant note. Shankar, too, as yesteryear actor Uday Kumar, is not quite as natural as Anil Dhawan as Pramod Sinha in the original.

The supporting cast though puts in a good performance, be it Nandhana Varma as Kumar’s daughter, Jagadish as Dr Swamy and Ananya as the wife of police officer and Simi’s lover Dinesh (Unni Mukundan).

For a film that revolves around music, Bhramam ’s music hardly stays with you after the film, or even throughout. Andhadhun had music lovers eating out of its hands with Naina Da Kya Kasoor and Laila Laila , and the background music as well.

Bhramam is definitely funnier and, at times, annoyingly so, when compared to the original, which was more of a black comedy. There are instances though, which evoke laughter as well as provoke thought, like the one makes one ponder on the connection (or the absence of it) between religion and crime. Plus 0.5 to Chandran for that!

For a viewer who has not watched Andhadhun , the Malayalam remake may well be highly entertaining. But it may be difficult to blindside those who have.

In one of the scenes in Bhramam , Anna, while talking about Ray’s incomplete but nice composition, tells him that some things, if completed, may lose its charm, and so, one should let it remain so.

Same with remakes, most of the time.

Film: Bhramam

Language: Malayalam

Cast: Prithviraj, Mamta Mohandas, Unni Mukundan, Raashi Khanna

Director: Ravi K. Chandran

Rating: 3/5

OTT platform: Amazon Prime

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Home » Review » Bhramam movie review: Prithviraj, Mamta's lively performances will keep even Andhadhun fans invested »

Bhramam movie review: Prithviraj, Mamta's lively performances will keep even Andhadhun fans invested

While there aren't too many differences in terms of the narrative of Bhramam and Andhadhun, the characterisation of the roles along with lively performances from each of the actors and Ravi K Chandran's stylish visuals keep the audience engaged

• Sanjith Sidhardhan

Last Updated: 12.03 AM, Oct 07, 2021

Story: Ray Mathews is a pianist, who pretends to be blind to get more lucrative opportunities. However, he soon finds himself as a 'witness' at a crime scene involving an yesteryear actor, his wife Simi and sub inspector Dinesh. How does Ray get out of the predicament and at what cost, when everyone else is trying to chase a better life at the expense of others' in the dog-eat-dog setting of this black comedy thriller, which is the Malayalam remake of Bollywood film, Andhadhun.

Review: Rarely does one find a Bollywood film being remade in Malayalam; the reason that is often quoted is that the Malayali audience watches content across languages. While this isn't necessarily true, making a remake work in Malayalam is fraught with risk, especially one of a film that is as popular as Andhadhun.

For starters, the setting of the Bollywood film didn't need to be altered much for its Malayalam version that is set in Fort Kochi where the background of the movie's protagonist Ray Mathews and his profession seamlessly blend in. The film's wickedly quirky turn of events tick all the boxes of similar black comedies in Malayalam helmed by the likes of Priyadarshan in the past.

The story of Bhramam is set in a dog-eat-dog world where every character is out to snatch what gets them ahead in their lives. On one hand, you have Ray Mathews (Prithviraj Sukumaran), who pretends to be blind after 'seeing' that a person with not even half his qualifications was given precedence in a teaching job due to his visual impairment. On the other hand, there's Simi (Mamta Mohandas), who is married to a yesteryear star (Shankar) for his money and influence, but has an affair with a sub inspector when the former is away. Even the supporting characters - a doctor, a lottery seller and an autorickshaw driver - too have their selfish interests that they try to execute once they rein in the helpless prey. Amid this, the makers insert Anna (Raashi Khanna) who almost serves as a moral compass for the characters as well as the audience in the end.

While there aren't too many differences in terms of the narrative of Bhramam and Andhadhun, the characterisation of the roles along with lively performances from each of the actors are what keeps the audience, even those who have watched the Hindi film, invested. Prithviraj as Ray is a treat to watch; he makes the role his own and he shines in the comedy portions of the film, especially in scenes with Mamta and Dinesh as they doubt him. While it would be unfair to compare Tabu and Mamta, the latter lends her style to the role of Simi and brings in just the right amount of wackiness to a role that could so easily have been over the top. The duo's performances, especially in scenes together, are the highlights of the film.

The supporting acts by Raashi Khanna, Unni Mukundan, Jagadish, Ananya, Shankar and Sminu Sijo keep the movie, which is about 2 hour 30 minutes in length, engaging. While Unni once again gets stereotyped as a 'muscle man', Jagadish appears in a role that uses his comic timing and versatility.

Another stark difference between Andhadhun and Bhramam is in the way it is shot. Director Ravi K Chandran, who also handles the cinematography of Bhramam, opts for brighter and stylish visuals, making almost every frame seem like a painting. Sarath Balan's dialogues and Jakes Bejoy's music too need to be commended in making Bhramam a worthwhile watch.

That said, Bhramam doesn't offer too much of a different experience from the original. The pacing in the second half slacks, mainly with the visuals and the script losing the tautness that it had for the better part of the film. This is also where the black comedy becomes zanier but suffers from the lack of energy. This results in the denouement not making a strong impact.

Verdict: The Malayalam remake of Andhadhun, which is currently streaming on Amazon Prime Video, will keep even those who have watched Ayushmann Khurrana's film engaged. This is mostly due to Prithviraj's and Mamta's spirited performances, along with Ravi K Chandran's brilliant cinematography.

Also read: Exclusive! Bhramam actress Ananya: I didn’t want to keep doing girl-next-door roles in Malayalam  

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Bhramam Movie Review: A Well-Crafted Remake That Has An Identity Of Its Own!

Bhramam , the Prithviraj Sukumaran starrer which is an official remake of the acclaimed Bollywood movie Andhadhun, has premiered on Amazon Prime Video. The movie, which is a black comedy, marks the Malayalam directorial debut of veteran cinematographer-filmmaker Ravi K Chandran. Bhramam is getting simultaneously released on the theatres overseas, thus emerging as the first Malayalam film to be released on both OTT and big screens, together.

Did this Prithviraj Sukumaran starrer live up to expectations? Read Bhramam movie review here to know...

What's Yay:

Redefined narrative and characters

Visuals & Music

Artificiality in staging and dialogues

Rey Mathews (Prithviraj Sukumaran) is a talented pianist who pretends to be blind, in order to get more career opportunities. He meets Anna (Raashi Khanna) and begins a romantic relationship with her. However, things take a different turn after Rey witnesses the murder of yesteryear actor Udaya Kumar (Shankar), who is killed by his wife Simi (Mamta Mohandas) and her cop boyfriend Dinesh (Unni Mukundan).

Script & Direction

Bhramam can be called a more commercialised version of Andhadhun , that appeals to the sensibilities of Malayalam-speaking audiences. Despite helming an almost-faithful remake, director Ravi K Chandran has decided to take a different turn with this film. Especially with the detailing and references that can only be picked by a loyal follower of Malayalam cinema (the CID Ramdas dialogue and the nostalgia factor that is bought in by Shankar & Menaka's roles, for example).

There are quite a few scenes that evoke laughter in the audience (the dream sequence in the police station and dialogues about Unni Mukundan's character, for instance). Even though Bhramam is a film that can be called a mix-bag of genres, it is the comedy that takes prominence here. But, this Ravi K Chandran directorial might not appeal to the audiences who expect slapstick comedy.

The biggest issue with Bhramam is the artificiality in its staging and dialogues, which reminds us of a stage drama (especially in the beginning portions). There is a sense of ease that is missing in the storytelling, which dilutes the overall impact. This remake might not be a completely satisfying watch for the viewers who are familiar with Andhadhun . But, Bhramam will definitely appeal to the audiences who intend to watch a fun film amidst the plethora of realistic, intense films that Malayalam cinema is producing right now.

Performances

Prithviraj Sukumaran has played pianist Rey Mathews in his signature style and has excelled especially in both the intense and emotional scenes. Even though the actor visibly struggles to get the essence of his character right at the beginning portions, he is fantastic in some of the most crucial parts of the film.

Mamta Mohandas, who played Simi has delivered one of the finest performances of her career in Bhramam . The actress has portrayed the various shades of her character with absolute ease and has once again proved her expertise in handling humour. Unni Mukundan, on the other hand, is a revelation as cop Dinesh. The actor succeeds in evoking laughter and create drama alike, in this never-seen-before avatar

Raashi Khanna who plays Anna is just okay in her role (her lip-sync issues are quite evident). The rest of the cast including Shankar, Jagadish, Ananya, Leela Samson, Sudheer Karamana, Nandana Varma, and others have played their respective roles to near perfection.

Technical Aspects

Ravi K Chandran, the director himself has handled the visualisation of Bhramam . As always, the veteran cinematographer has created a visually enthralling movie experience, with his beautiful frames. Sreekar Prasad's effective editing has made the movie a totally engaging experience.

Jakes Bejoy, the music composer scores with the original songs (especially Munthiri Poovo ) that have already emerged as chartbusters. However, it is the fantastic background score that emerges as the winner here.

Bhramam is a well-crafted remake that succeeds in creating an identity of its own. Even though this Prithviraj Sukumaran starrer has its own flaws, it is definitely worth a watch.

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Cast & Crew

Ravi K. Chandran

Prithviraj Sukumaran

Mamta Mohandas

Geethanjali

Unni Mukundan

C.I. Abhinav Menon

Raashi Khanna

Cynthia Dominic

Shankar Panicker

Pawan Kumar

'Bhramam' movie review: A half-decent remake with few highs

Before I get into the review of Bhramam, I would like to point out a great example of a filmmaker (Christopher Nolan) giving his own unique spin to the source material (Insomnia, 1997) when he remade it. It seemed fresh while essentially telling the same story. One notable difference was in the way they ended. Two different outcomes, you see.

I hoped Ravi K Chandran's Bhramam - the Malayalam remake of Sriram Raghavan's Andhadhun - would give me a similar feeling. It didn't. There are minor noticeable differences confined for the most part to the visual choices and, to a smaller extent, the third act of the screenplay, but that's about it. We'll get to the latter in a while. No spoilers, of course. First, the performances.

Let's admit that Andhadhun was not an acting exercise. It was more about the plot, and the actors were there to service it and not have their performances take all the limelight. But what worked in that film's favour is how all the actors managed to keep their performances restrained, even when they were required to get whacky. The acting and storytelling operated in perfect synchronicity.

There was no attempt from one to overshadow the other. Everything worked like the beats of a piece of great classical music - piano, in this case. I remember being incredibly relaxed while watching Andhadhun for the first time on the big screen because it was staged and edited in a way that kept you thoroughly invested in the storytelling.

Bhramam, on the other hand, have areas that test one's patience. Even a versatile composer like Jakes Bejoy can only do so much in a film confused about where to place his music. It's like taking part in a musical chair where everyone is always seated.

In Andhadhun, the characters behaved as if every event in the film is happening for the first time. The characters in Bhramam seem to have been rehearsing their reactions to situations that they have already foreseen.

The Simi in Andhadhun (played by the unmatchable, irreplaceable Tabu) seemed more complex than she lets on.  This Simi feels like the TikTok version in comparison. At one point, Ray Mathews (Prithviraj) calls Simi a "TikTok heroine". Well, he is right. But the funny thing is he sometimes acts like a TikTok star too.

Having said that, Bhramam manages to be a half-decent remake simply because the actors, including Mamta, get it right in some places. The culprits are straight out of film-noir. I also felt they did something interesting with Ray, the blind (or not?) pianist who shows up at the wrong place, at the wrong time. Prithviraj effectively oscillates between innocence and mischief, particularly in the first half. Ray is an oddball who goes around acting like a saint.

For instance, he wouldn't indulge in adultery to further his goals, but he has already proved to be someone with shaky morals on account of a particular habit. Ray reminds me of that guy who secretly admires a sensual photoshoot on Instagram but goes on Twitter to talk about the objectification of women in item songs.

There are moments where Prithviraj reminded me of Mohanlal and Mukesh from the 80s and 90s comedies in which the main characters used their charm to fool women. I also liked what they did with the unreliable narrator trope here. Unlike in the original, the minutely altered third act makes us doubt the veracity of the flashback that Ray narrates "two years later" in the climax. If I remember correctly, this plot development was approached in Andhadhun as if that's the truth.

Unni Mukundan as Dinesh  - the dubious cop with 'brawns, but no brains'—is quite hilarious in some places. I liked that he didn't try to imitate Manav Vij's Inspector Manohar in Andhadhun. The humour at times comes from the idea that Dinesh isn't as successful as Manohar when it comes to concealing his nervousness.

Sometimes it's the meta situation that does it, like when Dinesh is trying to finish a dozen eggs while dodging questions from his wife (Ananya, also funny). Anyone aware of Unni's fitness habits and real-life persona will let out a chuckle or two at these moments.

I initially wanted to approach Bhramam as though I'm watching it for the first time, but that's hard to do when one has seen the original. Having seen Andhadhun twice, the visuals are still fresh in my mind. So when the remake is mostly a frame-by-frame remake, it simply becomes a 'spot the differences' game. Perhaps it would work for those unfamiliar with Andhadhun.

The makers claimed that Bhramam is funnier. I have to disagree. Yes, it did make me laugh in a few places but whatever energy the film had at the beginning fizzles out the minute Jagadish enters the picture, and through no fault of his own. He is good. In fact, I was happy to see that vintage Jagadish again. But it seems to me the film lost interest in its characters after a certain point.

It's like waiting long for the punchline to land and then being told that the punchline came, did its job and left already. Andhadhun benefitted from a relatively shorter runtime and tighter editing. Bhramam made me check the watch.

Michael Caine once said that only unsuccessful films should be remade, provided one finds a sure-shot way to improve the original. As someone who starred in a lacklustre remake of one of his brilliant early starring vehicles, he should know.

Director: Ravi K Chandran

Starring: Prithviraj Sukumaran, Mamta Mohandas, Unni Mukundan, Raashi Khanna, Jagadish

Streaming on: Amazon Prime Video

Rating: 2.5/5

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Review: Bhram, on Zee5, is a Horror Story that Lost The Plot

Director : Sangeeth Sivan

Cast: Kalki Koechlin, Bhumika Chawla, Sanjay Suri, Eijaz Khan, Satyadeep Mishra, Chandan Roy Sanyal, Vikram Kocchar, Omkar Kapoor, Raj Zutshi

Streaming on: Zee5

Language: Hindi

Snigdha Poonam in her book Dreamers begins a dialectic with 'Young Indians'. In a shopping mall in Meerut she meets a nineteen year old boy who has an iron rod tied to the back of his motorbike. He looks forward to Valentine's Day as this is when he, along with the boys of Bajrang Dal get a free pass to accost, harass, and beat up lovers across the city. He aspires for a pure, cultured India, and is confronted by hormones that makes him hate the very object he lusts. The consequences of jilted love that takes up violence is there for us to see.  

Zee5 weaves a story of horror around this idea for their webseries Bhram . But before it really gets to make this poignant point, it traverses a messy, convoluted, and frankly boring landscape of drama and some horror. And even when it gets to it, it merely brushes with the idea and then moves on, unwilling to engage with this more deeply. 

The times we live in feels like a golden era for horror cinema because it is being used to make extremely relevant points, be it the afflictions of the gaming universe, feminism, and greed. This series feels like an unwilling candidate for this club.. 

Alisha, played by Kalki Koechlin, is an author fighting her own demons, mourning the loss of her lover. Her sister played by an awkward Bhumika Chawla, tries to reel Alisha out of her despair by bringing Alisha to the hills to live with her family. Ghosts appear, there are two pairs of high school lovers in a cabin who are attacked by a horned creature, there is necrophilia, there is an app that is meant to prevent human trafficking, there is a repentent priest, there is multiple personality disorder afflicted Alisha, and there are adults who are still dealing with the misdeeds of their adolescence. And of course, there is Shimla, the misted forests with tall pine trees; an eerie setup that in and of itself feels like a character that is both haunted and haunting. On paper, the culmination of these elements could have produced something that is engaging at the least, and balls-out horrifying at best.

But nothing clicks. The first, and last truly well executed jump scare comes in the second episode. There are 8 episodes in total, averaging around 20 mins each. The story is fairly simple and didn't need the runtime it has to unravel.There are multiple story threads, and it takes about two episodes to figure out which story is happening in what timeline. Once that is figured out, there is nothing really to look forward to, other than the "big reveal".  

The times we live in feels like a golden era for horror cinema because it is being used to make extremely relevant points, be it the afflictions of the gaming universe, feminism, and greed. This series feels like an unwilling candidate for this club.

Also Read: Shrieks From The South: Now Streaming, Four Horror Films

The writing is weak because it is directionless, almost like an Abbas Mustan-esque desire to produce more frills than thrills. There are too many things going on, none of which is given adequate attention to detail in plotting, and execution. The production design though, made me smile. At one point the priest, who also is in charge of the school foregrounds a blackboard. On the edges are written the usual things you would find; homework notices, the attendance of the class enumerated separately for boys and girls, and more space for the other homework that would accumulate over the course of the day. A jolt of nostalgia overcame me. But what I deeply wished for was more jolts of horror. For a horror series, this was the least I could ask for. Turns out, I demand too much. 

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Brahmastra movie review: Ranbir Kapoor and Alia Bhatt light the screen on fire, Part-2 can't come sooner

Brahmastra movie review: ranbir kapoor and alia bhatt are electric in this ayan mukerji spectacle. the film is a treat for long-waiting fans of hindi cinema..

There's light, there's fire, there are some superheroes who wield unique astras which were born from the Brahm-Shakti that possesses energies found in elements of nature like Jal (water) Āstra, Pawan (wind) Āstra, Agney (fire) Āstra, and animal and plants. Above all, there's the most powerful astra, Brahmastra, a supernatural celestial weapon that's said to be able to destroy the universe, which was broken into three pieces to save it from the dark forces. And then there's Ranbir Kapoor and Alia Bhatt creating sparks on screen with their real-to-reel chemistry. (Also read: Brahmastra release live updates: Review, premiere pics from Ranbir Kapoor, Alia Bhatt film)

Brahmastra: Part One - Shiva is a love story at the core, but it soon takes form of a fight between the good and the evil when the energies that rule this universe take control. Brahmastra is like watching a video game. Written and directed by Ayan Mukerji, Brahmastra is a heady blend of Hindu mythology and sci-fi elements that serve as the backdrop of a love story which is unusual to say the least.

Shiva (Ranbir Kapoor) is a DJ who falls for Isha (Alia Bhatt) at first sight and as their romance blossoms, his quest to find the reason behind his strange connection with fire becomes even stronger. His visions about destruction become clearer and unaware that he is destined to awaken the Brahmāstra, his path crosses with Guru ji (Amitabh Bachchan), the leader of the Brahmānsh, a secret society of sages who harness the Brahm-Shakti. Meanwhile, Junoon (Mouni Roy), the queen of dark forces, must find the fractured pieces of Brahmastra and bring her evil plans to fruition.

Brahmastra starts as your regular, conventional boy meets girl love saga, but it wastes no time in building the actual premise which is letting Shiva get on a journey together to find his ultimate purpose. With an overcomplicated screenplay, Brahmastra does get a bit convoluted at times but gets back on track soon enough too. Mukerji, who spent almost eight years to come out with the final film, clearly has gone overboard with certain aspects, but thankfully, it never reaches a point that it starts to bother and distract.

At 2 hours 45 minutes, the film seems a bit stretched, especially in the first half, and 20-25 minutes could have been easily chopped off at the editing table. While I liked the build of Shiva and Isha's romance in the first half, it didn't need to be stretched beyond a point. The second half takes off on a high note with flashback into Shiva's life and the whole mystery of Brahmastra and there are some really spectacular portions that leave you awestruck. While the story of Brahmastra was never really meant to be simple, it's the magic of VFX (all made in India), treatment of the astras, and grandeur of everything surrounding the characters that make it a visual spectacle and truly a cinematic experience to be enjoyed on the big screen.

Brahmastra has a serious tone for most part but I liked how dialogues by Hussain Dalal infuse subtle humour at some places that doesn't look odd even in the most intense scene or a fight. And talking of fighting scenes, the action choreography is next level and on par with some of the best we see in films like RRR and Baahubali. No, I'm not attempting to compare Brahmastra with SS Rajamouli's cinematic excellence but let's give credit where it's due.

Making Brahmastra even more special are Alia and Ranbir - the souls of the film. Ranbir has put his best foot forward imbibing Shiva's qualities and make them his own and he does add his boyish charm into the character even in the most intense scenes. Alia looks pretty convincing as Isha and remains an integral force to drive Shiva's actions. She delivers a restrained performance and never loses her ground. Together, Ranbir and Alia look endearing on screen.

Nagarjuna Akkineni as artist Anish Shetty, and a member of the Brahmānsh, who wields the Nandi Astra, is an extremely powerful casting. His lines and screen presence adds so much more gravitas to the script. Only thing I wish is that makers gave Akkineni a bit more screentime. Amitabh Bachchan as Guru Ji reminded me of his Narayan Shanker from Mohabbatein, though he's less strict and more fun in this one.

Mouni Roy as the only antagonist in Brahmastra is good only to a point when she doesn't overact and starts to look a tad too over-the-top in parts. From her appearance, attire to makeup, there's something about Junoon that just doesn't fit in. Oh, there's also another veteran actor, a member of Brahmansh, who has been given exactly two dialogues and has been royally wasted in this ensemble cast. I mean, come on, are you telling in this whole Astraverse, there was nothing better she could do than to fly a plane and just be there doing nothing?

Lastly, the music of Brahmastra is just average. Kesariya, for one, has been played more number of times that required in the last two months that there's no novelty left when you actually watch it in the actual film. Deva Deva is pleasant but you focus more on the visual choreography with Ranbir enjoying his playtime with fire as the song plays in background. And Dance Ka Bhoot is just a missable track that doesn't stay with you for long.

Watch Brahmastra because it's not every day that Bollywood churns out a film on this grand scale, with top-class VFX and creates a mystical universe that we only see in the West or closer home in the south film industry. And given that it's a planned trilogy, you'd be already left craving for a part two sooner.

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Brahmastra Review: Ranbir Kapoor Anchors The Action In Ambitious And Entertaining Fantasy

Brahmastra review: on the acting front, ranbir and alia achieve the impossible - they ensure that shiva and isha are always believable even as the goings-on around them are beyond fantastic..

Cast: Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna, Mouni Roy

Director: Ayan Mukerji

Rating: 3 stars (out of 5)

The relentless action that explodes on the screen accompanied by blinding fireworks and a high-decibel background score is a key part of the nearly three-hour-long Brahmastra Part One: Shiva . It isn't the pyrotechnics, however, that define the film that kicks off Bollywood's first proposed superhero trilogy. Its sweep, scale, style and swathes of originality do.

That is not to say that the astraverse (a universe of weapons drawn from the elements and the natural world) created in Brahmastra Part One: Shiva is likely to give Marvel's multiverse a run for its money. Or even that this film is an epitome of perfection. Parts of it do go a tad awry. Others are somewhat enervating, given the film's full-tilt, unbridled approach to the genre.

Brahmastra takes the devices of the superhero flick as we know them and stirs them up in a way that isn't entirely potboiler-style derivative, which is quite a feat given that it is primarily intent on rustling up a maximalist universe where everything is designed to dazzle the audience into willing submission.

Writer-director Ayan Mukerji couches the overlong adventure fantasy in an engaging, if a touch facile, love story between a DJ and the strong-willed, free-spirited girl who he falls in love with at first sight while whipping up a musical frenzy at a Mumbai Durga Puja pandal.

Their blossoming romance and the fire-hurling power that the boy possesses propels the two lovers down the path of duty and places them in situations from where they can go in only one fraught direction. The adventure takes them to the holy city of Varanasi and to the Himalayas, where time seems to stand still. But the duo has no time to pause and wonder what on earth is going on.

The Brahmastra saga is steeped in ancient Indian mythology, but the film expertly skirts around overt religiosity while stressing on the core concept of a timeless war between roshni (light) and andhera (darkness), between selfless sacrifice and righteousness on one side and personal ambition and destruction on the other.

Hindu religious festivities - Durga Puja, Dussehra, Kali Puja and Diwali, which is the time around which the film is set - dominate the first half hour of the film. That apart, the play on Shiva and Parvati - Isha is one of Durga's names - is obvious, but one character rechristens the male protagonist 'Dragon', perhaps a nod to Norse and Viking mythology with an eye on universalizing a story rooted in Bharatvarsh.

The young couple's mission is to stop the machinations of the forces of darkness that are looking to take control of the world by grabbing the three pieces of the brahmastra - a weapon of mass destruction that has survived for eons under the watch of Lord Brahma, the God of astras, and his human designates and has been inactive for three decades - and making them whole again and unleashing mayhem.

In the astraverse, the three pieces of the brahmastra are guarded by a trio of men - a scientist, an artist and a mystic - all of whom exist in the here and now as individuals who seem ordinary enough until they begin to reveal the hidden, distinct and elemental powers that they have been granted.

In the long-drawn out battle royale that ensues, the hero, Shiva (Ranbir Kapoor), has to first grasp the dimensions of his destiny as a saviour of mankind before he can embark upon an all-out confrontation with Junoon, the Queen of Darkness (Mouni Roy).

The young man is assailed by doubts and reservations. But what lies in store for him is preordained and, as it transpires, there is no turning back him. He is aided by his beloved Isha (Alia Bhatt), a woman who isn't given to playing second fiddle, and a homilies-spouting Guru (Amitabh Bachchan), who dwells in an ashram in the Himalayas where he grooms the next generation of defenders of the light.

A couple of other veteran superstars, one from Mumbai (whose identity shall stay unrevealed), the other from down South (Nagarjuna Akkineni), make appearances as principal figures in inexplicable and unsettling visions that Shiva has as he struggles to find an answer to the question that Isha repeatedly poses to him: Tum ho kaun (who are you)?

While Shiva does not volunteer too much information himself, detailed and verbose explanations are provided especially in the second half by the all-knowing Guru. These passages tend to slow down the film. But once the exposition is out of the way, Brahmastra hurtles along towards the all-important climactic clash between Shiva and Junoon, who is guided by a shadowy evil being.

Some of the background information pertaining to the grand role that has been thrust upon Shiva is overly complex and rambling, which might ironically enthuse many in the audience to watch the movie more than once.

Brahmastra Part One: Shiva is a high-octane blend of generic Hollywood conventions and predictable Bollywood tics, of technical razzmatazz and emotional traction. In the matter of the latter, the presence of the newlywed Ranbir Kapoor and Alia Bhatt adds a real, tangible edge to the onscreen romance between Shiva and Isha, a union of equals despite the fact that one is a superhero and the other a mere mortal.

The most striking aspect of Brahmastra is its firm eschewal of the kind of hypermasculinity that films of this nature usually perpetuate. With Ranbir Kapoor anchoring the action and the screenplay steering clear of the peddling of unbridled machismo, what we have is a male protagonist who willingly cedes ground to the woman in his life.

In fact, the man, by his own admission, owes a great deal to his mother - a backstory that is alluded to here, but is held back for subsequent instalments of the trilogy.

In one scene, Shiva describes a job at hand as meri zimmedari (my responsibility). Isha corrects him promptly - it's humaari zimmedari (our responsibility), she says.

In another scene early in the film, Shiva says to Isha that he has no surname because he does not know who his father is. In the same breath, he reveals that he plans to adopt the surname of his wife. Here is a superhero who is 'super' in more ways than one.

Brahmastra Part One: Shiva is a spectacular production that benefits immensely from the VFX done by DNEG. The crucial action scenes, even as they strain credibility, throb with life and deliver their share of excitement.

The story plays out in recognizable spaces - in an orphanage, an artist's atelier, a hermit's home - in a marked departure from Hollywood's heightened and divorced-from-reality superhero movie template.

On the acting front, Ranbir and Alia achieve the impossible: they ensure that Shiva and Isha are always believable even as the goings-on around them are beyond fantastic. Mouni Roy, playing the arch-villainess who is out to wrest the brahmastra and wreak havoc on mankind, carries the daunting weight of the role without wilting.

Brahmastra Part One: Shiva , ambitious and entertaining, has the makings of a blockbuster of the sort that Bollywood has been desperately seeking for a while.

• Cast Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna, Mouni Roy
• Director Ayan Mukerji

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‘Shades of (Baby) Pink’ movie review: A heartwarming take on love and longing

Telugu short film ‘shades of (baby) pink’ by director neelima gudavalli explores family ties, separation and longing through the lens of emotional intelligence.

Published - August 30, 2024 01:08 pm IST

Yashvasin Madala in ‘Shades of (Baby) Pink | Photo Credit: Special Arrangement

Shades of (Baby) Pink , a 32-minute Telugu film streaming on ETV Win, is at once personal and universal in how it portrays the theme of love and longing between parents and children across generations. Written and directed by Neelima Gudavalli , a data scientist, it takes a measured approach in depicting emotional complexities, without being too melodramatic. The film also accords all its principal characters equal respect and never judges them by career choices that necessitate long-distance family ties. As it is, several young parents grapple with enough guilt about the choices they make.

The story is simple. A couple (Krishna Manjusha and Suchith) working in the United States are on a short visit to India and when they leave, it is not easy for their five-year-old son who is in the doting care of his grandparents. The child shares an easy relationship with the grandparents, but can they fill the void left by the mother? Top angle shots (cinematographer Nimish Ravi) of a child asleep between his grandparents, only to wake up at night and make his way to his parents’ room, establish the bond and the child’s bond with his parents.

Shades of (Baby) Pink (Telugu)

Later in the film, a world map is used as a tool to explain the distances that separate the boy from his parents. When the child processes the information in his own way to bridge the gap, his emotional intelligence comes into play. Child actor Yashvasin Madala brings in the warm fuzziness and vulnerability required for his part. Srinivas Bogireddy and Jayalalitha as the grandparents are adequate in their empathetic portrayals. A scene featuring Krishna Manjusha on a video call shows how she quietly, eyes brimming with tears, understands the child’s plight. The film also makes a subtle comment on how the elderly yearn for their family.

Shades of (Baby) Pink has won awards at a handful of national and international film festivals, notably Best Drama and Best Debut Director in the Cannes Shorts section (2021), a special mention at the 12th Dadasaheb Phalke Film Festival 2022, and Best Child Actor at the 10th Mumbai Shorts International Film Festival, among others. The film was also screened at BISFF (Bengaluru International Short Film Festival) and Chicago International Indie Film Festival.

Related Topics

Telangana / Telugu cinema

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