The film, Bramayugam (not Bramayugam) is being hailed by audiences and reviewers alike as a groundbreaking piece of cinema and storytelling. This movie had me hyped to see it, thinking this could be the next great Indian folklore based horror film after the amazing “Tumbbad”. There were several things about the movie that made it feel like “Tumbbad”, almost as if they were sibling films.
The story revolves around an escaped slave in 17th century South Malabar named Thevan (Arjun Ashokan), who has to pass through dangerous jungle to reach back his home. His companions’ life was taken by Yakshi (Amalda Liz) which is why she does not kill Thevan for some reason. Thevan navigates his way through the forest and eventually finds himself in one of its opulent mansions, owned by Kodumon Potti (Mammootty), secluded from everyone with a personal cook whose name we don’t know played by Sidharth Bharathan. Potti offers sanctuary to him on condition that he plays for him occasionally since he used to be a court singer before he was enslaved. Thus Thevan feels rescued and starts living in the house until he can find his way back home.
He later discovers that Kodumon Potti may have more sinister motives than he appears, and there may be something dark lurking inside that house wanting out.
An Exceptional Ensemble Cast:
Mammootty’s choice of movies has been very wise over the past two years where all his movies are hugely different from each other if you go through his releases list. This also includes “Bramayugam” which is undeniably one of those and actually features Mammootty’s most extreme character portrayals so far. He looks mad playing Kodumon Potti without any actions but just expressions. Moving forward into this film along with its main character we thus come to understand that he is not what he seems and many of these previous looks now make more sense. From the kind-hearted being, Mammootty’s portrayal becomes chilling and unsettling as he changes into an all knowing person who keeps his male household members under his control and may eventually murder them. His insane grin will be imprinted in the minds of anyone who watches this film. It is very rare for an actor to be able to play a character with many different sides so convincingly and naturally; yet, Mammootty effectively toggles between these various shades throughout the performance.
Still of Arjun Ashokan
Ashokan’s Thevan is suddenly thrust into a situation over which he has no power and witnesses events he never knew existed. And it’s not easy to depict these feelings through facial expression as the film generally keeps its drama in the background. What was more, I admired his acting since apart from making me sympathize with the character, he made me feel all the pain that the character himself had to experience. Additionally, this actor brings in an air of energy and madness towards the latter part of the movie that takes some key moments up a notch or two. Ashokan has a curious face and beyond expectation it does help him many times. In fact, within minutes, he can easily switch between madness and expressions of calmness or composure.
The cook played by Sidharth Bharathan doesn’t have any name mentioned throughout the whole film but eventually his significance becomes evident for everyone who watches it till completion. He happens to be acquainted with everything that goes on in Thevan’s house including being both his questioner and one who answers them at times when audience might need clarification. Some little known aspects about Bharathan’s character are revealed at last to enable him take control of himself and put forth his authority on this matter.
Amalda Liz plays Yakshi whose appearance is limited to only three scenes without any dialogue whatsoever but despite this her presence is always felt through her sizzling screen presence as much as either as discomforting entities or attractive ones.
Compelling Cinematography Combined With Continuously Creepy Settings And Mood:
“Bramayugam” is shot in black and white, which visually owes much to “Tumbbad”, “Kantara”, as well as Robert Egger’s films. More than what was happening on screen itself, I was fascinated by how things looked like and how they were directed, shot and edited. This just shows that for a few of us, the technicalities in the film saved it as we may have not enjoyed the narrative and drama as some of those who are very much over-excited about it. The black and white aspect has brought an artistic mood to all scenes making even simple views quite captivating without colour entertainment.
The director keeps up a suspenseful air throughout. You always feel like something evil is going on somewhere inside this huge house, and you’re correct. At times, there were no extraordinary incidents taking place in the movie but still everything was so creepy. Lots of things that could have led to answering some of these major questions through Thevan did not appear while other characters withheld more information from them in case they needed assistance. Thus, all these elements contribute to such a darkly brooding and mysterious atmosphere which enhances its effect to some extent.
The Story Felt Generic and With Little to No Surprises:
I will admit this is a shared sentiment amongst very few people, but for me the narrative in the movie was so stereotypical that it was clichéd. It had no thrills or twists that truly shocked. Right from the beginning I knew what to expect from the film. When various characters start showing their cards, it gets even more arbitrary and monotonous. My little hope for the end was further shattered by one of the most repetitive and hackneyed endings imaginable in films of such type as this one. “Tumbbad” was an amazing horror film because yes, its story rocked but also because its plot’s twists, turns, and surprises were oh-so-good. In fact it scared us genuinely and all through the course of this film there were surprises that came up time after time again. Nothing like that occurs here at all. For instance, it seems like he did not care about his audience’s demand for thrillers and a good story since he kept reusing concepts from his previous movies where he relied on his ensemble cast to save him.
Expecting The Audience to Know About the Lore to Enjoy the Film:
There are numbers of videos explaining about this particular lore which delve into who or what every character represents, including events leading up to certain moments in history, social-cultural ecosystem around which story is set among other subtle nuances being communicated by director while telling his story (Mishra 2018). While watching these videos I really appreciate these aspects of movie. Yet when I think about it do I really need so many background checks before going into a cinema? And even after seeing a movie can’t I leave without wanting to know anything beyond how some actual happenings were interpreted? It turned out to be ‘no’. Therefore expecting an audience who have watched your film to research on your minutiae as they bask in your artistry might be a bit over ambitious. Rahul Sadasivan as a director had two hours in which to keep his audiences captivated and at the same time provide them with everything through his storytelling so that they don’t have to dig up for anything to make them like his movie. He did it successfully in terms of the cinematic quality of the film, but not as much when it comes to storytelling and thrills. Without having the knowledge about the legends surrounding this movie, I could never relate with it as well as one who knows this information.
Final Words:
Though he does not capture his audience’s attention and make them gasp in surprise, “Bramayugam” presents incredible photography, spooky settings, and a cast that performs so well. Knowing that the film is based on folklore and expects viewers to consult either pre- or post-viewing material hurts its accessibility/impact. As for myself, I felt disengaged and let down by the lack of immediate connectivity while some will appreciate the depth of storytelling and cultural orientation in it. In essence, “Bramayugam” cannot escape leaning on outside knowledge thereby dividing those who are deeply involved with it from those standing at its periphery such as myself who lacks any concept of what it is all about.
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