- Release Date: 15/02/2024
- Platform: Sony Liv
- Cast: Mammootty, Arjun Ashokan, Sidharth Bharathan, Amalda Liz
- Director: Rahul Sadasivan
Here’s why “Bramayugam” is commendable yet falls short of greatness
“Bramayugam” (not Bhramayugam) is being applauded by audiences and critics, as a pathbreaking piece of filmmaking and storytelling. I was absolutely pumped to watch this film and felt that this might just be the next great Indian folklore-based horror film after the stunning “Tumbbad”. There were many things about the film that likened it to “Tumbbad” and felt as if the two films were brothers in spirit.
The story revolves around an escaped slave, Thevan (Arjun Ashokan), in 17th century South Malabar who makes his way through a perilous forest to get back to his village. The man he is travelling with is consumed by a jungle spirit, Yakshi (Amalda Liz), who for some strange reason leaves Thevan alive. Thevan makes his way through the forest and ends up in the palatial house of one, Kodumon Potti (Mammootty), who lives in seclusion with his unnamed cook, played by Sidharth Bharathan. Potti offers refuge to Thevan in exchange for him singing for him from time to time as he was a professional court singer before he was sold into slavery. Thevan is delighted to have been saved and begins living in the household before he can find his way back to his village.
As time passes, Thevan realises that Kodumon Potti is not what he seems and there might be something sinister at play in the house that not only threatens to end his life but is brimming to make its way out of the house and into the world.
Splendid Performances from The Ensemble Cast:
Mammootty has been choosing his films wisely in 2023. If you look at his roster of releases, you will realize that every film that he has been a part of has been radically different from one another. “Bramayugam” is a worthy entry in that list, and it is, in all eventuality, the most radical in terms of his characters. He plays Kodumon Potti with a sense of madness that is depicted not through actions but through expression. As the film progresses, we, along with the protagonist, realize that he is not what he seems, and it is at this point that many of his prior expressions make even more sense. As he transforms from a benevolent man to an all-knowing being who is keeping the men in his household under his thumb and might just end up killing them, Mammootty’s depiction is chilling and unnerving. His maniacal smile will linger in the memories of those who watch the film. His performance has many shades and layers, and he toggles between these effectively and organically.
Arjun Ashokan’s Thevan is thrust into a situation that he has no control over and sees things that he didn’t even know existed. It isn’t easy to convey these emotions through expressions as the film mostly plays the drama on a low-key note. I was impressed by his performance as he was not only able to make me care for the character but was also able to make me feel every ounce of the pain that the character was going through. He is also able to bring a sense of energy and madness into the later portions of the film that are instrumental in elevating some of the key moments. Ashokan has an interesting face, and it does come to his aid more often than you would expect. He is also able to very easily toggle between expressions of calm and composure and madness in a matter of minutes.
Sidharth Bharathan’s character, the cook, is kept nameless in the film to surprise the audience with the amount of importance that he assumes towards the end. He is the only character in the film who knows everything that is happening in the household and serves as the man with all the answers to Thevan’s questions, who is doing all the questioning on behalf of the audience. Some interesting facts are revealed about Bharathan’s character towards the end allowing him to come into his own and stamp his authority on the proceedings.
Amalda Liz as the Yakshi appears only about three times on the screen and has no dialogue. She still stamps her presence with her scintillating screen presence and mannerisms that serve as much as a source of discomfort as they do of allure.
Captivating Cinematography and Consistently Eerie Settings and Mood:
“Bramayugam” is shot in black and white and feels inspired in its visual aesthetics as much from films like “Tumbbad”, and “Kantara” as it is from Robert Egger’s films. I was constantly engaged by the look of things and how the proceedings were envisioned, shot, and edited more than what was unfolding on screen. This underscores the fact that the technicalities of the film served as a saving grace for some of the limited number of viewers like me who might not have enjoyed the narrative and drama as much as some of the other people who are going gaga about it. The black and white aesthetics add an artistic and sombre tone to the overall visual palette and transform some of the ordinary images into aesthetically and cinematically brilliant presentations due lack of colour.
The director is able to maintain a tense mood throughout the film. You always feel that something sinister is brewing somewhere within the palatial house, and you are right. There are moments in the film where nothing extraordinary happens, and yet the proceedings feel extremely unnerving. Characters hold back a lot of information, and the director doesn’t show us things that might lead to the resolution of some of the major questions that are being asked by the audience through the character of Thevan. All these attributes of the film and the storytelling style add to the brooding and eerie nature of the film, elevating its impact to a certain extent.
The Story Felt Generic and With Little to No Surprises:
This might just be a sentiment shared by me and a few others, but I found the narrative of the film extremely generic and predictable. There was an utter lack of thrills and twists that bore true surprises. From the very onset, I knew what to expect from the film. Once the different characters started revealing their cards, it started getting even more predictable and tedious. The little hope that I had for the climax was further destroyed by one of the most repetitive and generic endings that one could expect from films of this nature. “Tumbbad” was such a great horror film not just because of how good the story was but also because of how exceptionally well the twists, turns, and surprises in it were. It extracted genuine scares, and as the film progressed, it was always able to surprise the audience. Nothing of that nature happens here. It seems as if the director was so sure of the magic of his ensemble cast and his flair for presentation that he took the audience’s hunger for thrills and a captivating story for granted.
Expecting The Audience to Know About the Lore to Enjoy the Film:
There are innumerable explainer videos of the film that delve deep into the lore and the genesis of all the characters, explaining the times, the socio-cultural ecosystem in which the story unfolds, and the various subtle nuances that the director tried to convey with his storytelling. When you watch these videos, you genuinely appreciate these aspects of the film. But then I ask myself, when I walk into a film, do I really need to do so much digging and pre-reading to understand the nuances and the heart of the narrative? Even after watching the film, do I really care to do any further digging unless it is a story about some true events and my interest is piqued by the rendition of the events in the film? The answer is a ‘no’. Hence, to expect your audiences to do research after watching your film to appreciate your deft touches is probably pushing it a bit too far. As a director, Rahul Sadasivan had two hours to enthral his audiences and give them everything through his storytelling without leaving anything for them to dig out to enable them to appreciate his film. he did partially succeed in enthralling his audiences with the cinematic quality of his film but not so much when it came to the storytelling and thrills. Without the knowledge of the folklore, the film never really impacted me as much as it would someone who has the necessary knowledge.
Final Words:
While “Bramayugam” showcases remarkable cinematography, eerie settings, and strong performances from its cast, it ultimately falls short of delivering a truly captivating and surprising narrative experience. The reliance on audience familiarity with the folklore and the expectation of extensive pre- or post-viewing research detract from the film’s accessibility and impact. While some may find depth in the intricacies of the story and its cultural context, others, like myself, may feel disconnected and underwhelmed by the lack of inherent engagement. Despite its potential, “Bramayugam” struggles to transcend its reliance on external knowledge, ultimately leaving a divide between those who are deeply immersed in its world and those who remain on the periphery, unable to fully appreciate its nuances.
Rating: 3/5 (3 out of 5 Stars)
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