Category: Reviews

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Parasite – A Review

Credits:
Directed by:            Bong Joon-ho
Produced by:          Kwak Sin-ae; Moon Yang-kwon; Bong Joon-ho; Jang Young-hwan
Screenplay by:      Bong Joon-ho; Han Jin-won
Story by:                  Bong Joon-ho
Starring:                  Song Kang-ho; Lee Sun-kyun; Cho Yeo-jeong; Choi Woo-shik; Park So-dam; Lee Jung-eun; Jang Hye-jin
Music by:                Jung Jae-il
Cinematography:  Hong Kyung-pyo
Edited by:            Yang Jin-mo
Running time:    132 minutes
Country:              South Korea
Language:          Korean
Awards:
92nd Academy Awards: Best Picture, Best Director, Best Original Screenplay, Best International Feature Film
Golden Globe: Best Foreign Language Film
BAFTA: Best Film Not in English Language

Story:
A deprived family occupies a wealthy household in an intricate plan that goes terribly wrong, ending in a tragedy.

Synopsis:

When we first meet the Kim family, headed by father Ki-taek (Song Kang-ho) and mother Chung-sook (Chang Hyae-jin), they are in their basement home in the slum area of Seoul area along with their son Ki-woo (Choi Woo-shik) and daughter Ki-jung (Park So-dam), desperately hunting for any stray neighbours’ wifi coverage (which they locate near the toilet). When the government fumigators come on their street, the dad asks to leave the windows open for a free spray of insecticide in their home.

They have absolutely nothing for themselves other than each other. It is at this point that an opportunity knocks at Ki-woo – his friend asks him to teach English to a rich schoolgirl. With the help of his artistic sister, Ki-jung, he fakes a University Certificate and enters the Park household as the tutor.

The Park household consists of Mr. Park (Lee Sun-kyun), the businessman, owner of a global company, who is always busy at work; his anxious wife, Yeon-kyo (Cho Yeo-jeong), busy tending to their teen daughter (fond of boys) and hyperactive younger son, who is fond of the Native Americans. The Parks live a lifestyle, wherein they have outsourced everything – chauffeurs, tutors and most importantly caring of kids, cleaning, cooking to the devoted housekeeper Moon-gwang (Lee Jung-eun), who stayed with the building after its original architect owner moved out.

Ki-woo soon makes a plan to “take over” this household, for he sees opportunities, for his family in every nook and corner. He feels that he and his family are entitled to the luxuries of this household. His sister, father and mother seize the roles of art teacher, chauffeur and the housekeeper, respectively, using lies and charm to get rid of the Parks’ other employees, by telling the Parks, what they want to hear. Though the Parks are not gullible, they accept these new seemingly “unrelated” employees, one by one, as they are badly in need of domestic help.

The Kims settle in and everything goes great for them, until the previous housekeeper returns to collect an “item” that she has left behind in the Park household. From that point on, the horror unfolds, way too quickly, with skeletons coming out of the closet. The diametrically opposite worlds of the Park and Kim, dramatically collide destroying everything around with great force – a comedy turning into a tragedy, in that mansion and its beautiful, well maintained, green lawn.

Acting:
Each and every character is very important in this piece. Each character has its use and moves the story forward. Parasite, which is heavy on the storyline, is completely dependent on its actors. Each one of them has given a wonderful performance – their faces will haunt you for a while, as you would become a part of the nightmare that unfolds.

Music:
Jung Jae-il’s music, that starts off very sober, reaches its zenith by the time the climax is reached. The chords are so apt for each situation, heightening the underlying tension.

Collision of the Classes:
The difference in class and the subsequent collision is brought out by Bong fantastically in Parasite.

The Parks live in a mansion, which is an architectural marvel in itself. This humongous isolated house has the view of the green lawns, neatly trimmed hedges, starlit skies and not that of the urinating drunkards, as that of the filthy basement of the Kims. The air is fresh and clean at the Parks while it is putrid and polluted at the Kims.

Everything is ascending in the Park’s mansion – right from the road to the gates, to the main door and then to the living area. There is an escalator to the living area. This is in contrast to everything descending in the slum from the road to the concrete stairwell leading to the basement unit of the Kims.

The RAIN – is a beauty, to be relished at the Park mansion. While, it is a pain for the Kims as it causes flooding and sewage water enters their little basement. They are then left to the mercy of the government, for their basics – food, clothing and shelter.

The Kims may be desperate with no money, but they are every bit as smart as, and a lot more united (and closely knitted) than, the Parks, who turn their noses up at the smell of “people who ride the subway”. All four Parks are never seen together in one room, in that mansion. There is always an undercurrent at the Park mansion, beneath the calmer, picture perfect surface.

Mr. and Mrs. Park speak the language of politeness – simple and clear. They show brutal uprightness each time they ask for something. It is funny and at the same time uneasy when Mr. Park gripes about people that “cross the line” and smell like “old radishes.” At the Kim household, language is not a barrier.

At one point Mr. Kim (Sr.) says, “They’re rich but still nice,” of the Parks. Mrs. Kim immediately counters, “They’re nice because they’re rich”. Can this profound statement be any truer than this?

Symbolism of the Rock, a viewing stone given by Ki-woo’s friend at the beginning of the movie: This rock is believed to bring in wealth and happiness. Ki-woo goes in search of wealth with confidence, after the arrival of this rock. The rock is steadfast and withstands destruction. This rock also symbolizes the burden that comes along (with prospect of wealth), for it never leaves Ki-woo, as it is also his burden.

Who is the Parasite?
This is a tale where there are no heroes and the villains cease to be the villains. The line between protagonists and the antagonists blur and becomes interchangeable. No one is gullible or naïve and everyone has their weak, poignant moment.

This is a story that can easily slide into any country, into any culture and the language is no longer a barrier – we can identify with these characters and might have actually come across too. For this tale works on the premise of the basic fear of all humans – the need to protect their “own family” at any cost.

Bong leaves the question – “Who is the Parasite?” – open at the end. When the final credits roll, the audiences are sure to ponder this over. Are the real parasites the downtrodden that attach themselves to the wealthy? Or is it the wealthy that always sucks the blood out of the destitute? Or is it the system itself that feeds on the violent interaction between the two classes in this society?

Movie lovers don’t miss this wonderful, profound movie from South Korea.

My Rating:

5 / 5

 

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Super Deluxe – A Review

Directed by Thiagarajan Kumararaja
Produced by Tyler Durden and Kino Fist
East West Dream Works
Alchemy Vision Workz
Screenplay by Mysskin
Nalan Kumarasamy
Neelan K. Sekar
Thiagarajan Kumararaja
Story by Thiagarajan Kumararajan
Music by Yuvan Shankar Raja
Cinematography P. S. Vinod ; Nirav Shah
Edited by  Sathyaraj Natarajan
Starring Vijay Sethupathi as Manikam (Shilpa)
Fahadh Faasil as Mugilan
Samantha Akkineni as Vaembu
Gayathrie as Jothi
Ramya Krishnan as Leela
Mysskin as Arputham (Dhanasekaran)
Bagavathi Perumal as SI Berlin
Ashwanth Ashokkumar as Rasukutty
MirnaliniRavi as alien

A dark, raw movie, with humour laced all over, and sometimes in weirdest spots. It is a mélange of four different parallel stories (Vijay Sethupathi; Samantha and Fahadh; Ramya Krishnan and Myskin; the four teenage boys) that are related but not in a linear fashion. Also, these four tracks get intertwined at some point, but certainly not at the culmination. Each track has its own end.

The entire story is happening in a span of 24 hours. The incident that happens in one story triggers the rest of the happenings. The director dwells into the chaos theory and the butterfly effect; and culminates philosophically, into the oneness of all beings.

The movie is more in line with what is happening today – about beliefs, commitments, sex, philosophy, inclusivity, AI and, overall life in general, with a good dose of message at the end. I’m sure this would be the boldest movie done by all the characters as, there are no restrictions (particularly language). That being said, the sexual content is only implied. There are quite a few scenes that can churn your stomach.

Artistic value adds –
The sepia colour tones used highlight the poignancy of the story.
The camera angles used are just amazing; it is always through a window or a door, highlighting how the characters are trapped in their own different ways – Vijay Sethupathi in his identity, Fahadh and Samantha in an unhappy wedding, Myskin in his Godly illusion, the boys, for whom sex is the be all and end all of life.
The cool blue colour is splashed all over in every scene; however, the characters living in these spaces are not cool and stable, but very volatile; each with their own baggage.

Vijay Sethupathi’s Shilpa is not vulgar in any sense – in fact, it will make one feel sympathetic towards transgender people and would make one think about being inclusive. Samantha and Fahadh, Ramya Krishnan, Myskin, the little boy Raasukkutty and his mother Jothi (Gayathrie) – everyone has done their role to perfection. How can the villain SI Berlin be forgotten – he reeks just nausea in all his scenes – and the audience would certainly feel a sense of relief at his final destiny.

The characters are unapologetic of their actions, which is a rarity in Tamil Cinema.

Of the many fantastic dialogues, two really stood out

  • Rasukutty tells Shilpa, you be a man or a woman, it is your choice. How can you punish my mom and myself when we have accepted you, just as how you are.
  • Ramya’s Leela says it is all in the point of view – if one sees a porn star in me, or the Goddess that I have acted as, it is just their reality. Mine is that, I am just Leela

The BGM by Yuvan was superb and very apt for the scenes, intensifying the ongoing. A great relief in this movie is that there are no songs in this 2:45 hours’ movie.

The only negative that I felt in the movie was its length. Certainly, the movie could have been cut by about 10 minutes at least, particularly in those scenes involving the missionaries. That would have made the move more taut and edgy.

Though it is not everyone’s cup of tea, Super Deluxe is a wonderful movie, but certainly not to be watched with the kids. More than a movie, Super Deluxe is an experience, not just another random show.

My rating:

4.5 / 5

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Kumbalangi Nights – A Review

Credits

Direction Madhu C. Narayanan
Production House Fahadh Faasil and Friends
Working Class Hero
Fahadh Faasil
Nazriya Nazim
Dileesh Pothan
Syam Pushkaran
Story Syam Pushkaran
Music Sushin Shyam
Cinematography Shyju Khalid
Editing Saiju Sreedharan
Starring  Shane Nigam as Bobby
Anna Ben as Baby Mol
Soubin Shahir as Saji
Sreenath Bhasi as Bonny
Mathew Thomas as Frankie
Fahadh Faasil as Shammi
Grace Antony as Simmy
Ramesh Thilak as Murugan aka Vijay
Jasmine Metivier as Nyla
Riya Saira as Sumeesha
Sheela Rajkumar as Sathi

Synopsis
It is the tale of four brothers (Saji, Bonny, Bobby & Frankie) living in the island village of Kumbalangi. This is the place where kittens are left to die and the lovely green land ruined by the people turning it to a wasteland for human excreta. The brothers live in the dilapidated house, with only cactus growing in its yard.

The movie begins with Frankie, the youngest, returning to this house from the boarding school. There is no woman in the house and Frankie tries to bring this house to a shape – he casts the net to fish and makes fish curry for the brothers and does laundry, while the older siblings quarrel.

With Bobby falling in love with Baby Mol, the sister-in-law of Shammi, a narcissist, declaring himself the “Complete Man” for he runs a hair salon, the story is set into motion. The tragedy at the intermission pushes the story forward, with the aimless brothers trying to turn a new leaf, discovering their potential and mending their ways.

Underlying Themes
Masculinity and the “Complete Man”
Who is a Complete Man? Is he the one that looks good and has a job? Is he the one that protects / takes care of a woman? The one who is responsible for their honour? Does a woman even want this protection? Or, does masculinity mean having a streak of violence?

This is a theme that is constantly challenged in this movie. The director beautifully deconstructs this myth about machismo and patriarchy through the various male characters. The way the vulnerability of each of these men is highlighted is stupendous. And, men too are allowed to be fragile.

Kumbalangi Nights not only questions and challenges staunch patriarchy, but also, identifies it as a sickness that needs to be curtailed and cured.

Femininity
Women in Kumbalangi Nights are not portrayed as weak or in need of a man to protect them. They are not elevated to the status of Godesses. They stand-up and raise their concerns and take matters to their own hands when required. They are not mere toys in the hands of men and make their presence felt throughout the movie.

Simmy who is meek and afraid of Shammi, stands up for herself at a point where Shammi crosses his boundary. Baby’s character is portrayed as strong right from the beginning as she is not afraid to pursue her love interest.

Sathi, makes a practical viable choice of not filing an FIR against the person that was the reason for her husband’s death, knowing that her future and that of her child is on the line.

The mother of the four brothers is shown to have left them to pursue divinity and service. Even when the brothers call her at one point in the move, she refuses to return to the house. It is her choice and it s not judged.

Family
What is a family? Is it just made of parents and children? As dysfunctional as it might seem, there is an underlying love that permeates through the scenes with the brothers. The way the characters of Sathi and her child, living in the same household with the brothers and that of the African American woman Nyla who comes in with Bonny are welcomed shows that family is what we make – a personal choice.

Family can be formed with anyone; with strangers and people that might walk into our lives – as long there is the mutual love and respect for one another, and that is they key.

Kumbalangi
The fishing island of Kumbalangi is the most important character. The way Shyju (cinematographer) has captured the lush green surrounding and the backwaters is a treat to the eyes. The movie talks about eco-tourism and showcases the beauty of the land.

Kumbalangi is the essence of this piece. The transformation of brawls at night into a self-realization and mended ways, going in the direction of happiness (which was missing at the beginning, even though there was ample freedom) is the highlight.

Acting
Each character in Kumbalangi Nights is well etched. They will haunt the viewers for a few days and will be remembered fondly for quite a long time.

If Shammi was awesome in a grey character with a streak of violence, Saji has a lot of warmth and pathos thrown in. The transformation that Bobby shows from being the guy that doesn’t want to work initially and how he discovers what he would like to do (when he grows up) once he falls in love with Baby is amazing. Bonny, the mute is so expressive – he talks through his eyes in this movie. The youngest of the lot, Frankie brings his own charm and innocence to the character.

The female characters of the mother and the two sisters show fragility, fear and strength all at once. Amazing to watch such fluidity in these artistes.

Overall it is a satisfying experience to see these characters live their lives in Kumbalangi Nights

Music
Music by Sushin is very apt. The songs just gel with the narrative and enhance the backdrop. BGM is amazing – the way it changes to a violent, yet calm tune when the character of Shammi questions Simmy, will send some chills down the spine.

My Rating
4.75 / 5

Don’t miss this movie for it brings in a breath of fresh air into the otherwise mundane tales that are churned out.

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Odiyan – A Review

Odiyan is the legendary clan of sorcerers from the region of Palakkad in Kerala, India, during the time when electricity had not reached the many towns in India. They were the shape shifters and they made a living by scaring people in the darkness of the night.

Hailing from the region of Palakkad, I have heard many a tale from my grandmother of how an Odiyan would scare people by changing their form to various animals, attack and immobilize them but not kill them (but leave them a mere vegetable); how they would take the foetus to use it for their black magic; the various people in the village that were attacked by Odiyan. Odiyan ruled the darkness and the night.

With all these tales in mind, I was very excited to watch Mohanlal’s Odiyan. I was very happy that I was able to relate to the movie and the proceedings.

This movie is certainly not for those that are looking for some Mohanlal type actions or for those that is expecting a horror story. Neither is it a superhero story as what it was promoted as.

This is a simple, yet poignant tale of the last Odiyan, a great, noble sorcerer, who returns to his village after 15 years to clear his name of a crime that he never committed and to safeguard the widows of the Kelakkam Tharavadu (Kelakkam House), to whom his clan is indebted to for generations.

Odiyan is also the story of the darkness within the human and the anecdotes that the fear and guilt creates.

Highlights and Lowlights

The non-linear story telling that is used by the director keeps the audience thinking and correlating the various pieces of this puzzle. Though the audience knows who the villain of this piece is,they are still looking for a convincing conclusion and yearns that justice is served.

Now infamous “Kanji Edukatte” scene – I consider this scene, particularly this dialogue to be the most powerful one as it is this dialogue that very clearly confirms that the Odiyan is once again welcomed into the Tharavadu. This scene, in that dilapidated setting, with the widows now tired and dreary, actually comes in as a ray of hope for them. The trust on the Odiyan is once again established.

Climax – The fight sequence choreographed by Peter Hein. Odiyan is restored to his full form, menacing to the wrong doers but gentle to the believers. A fantastically executed fight sequence, that which would leave the audience craving for more.

BGM – what an amazing score! It is so melodious yet haunting. The BGM becomes a character in the movie, clearly depicting the various moods of the principal characters – be it joy or pain.

Music – the beautiful and melodious songs are not a hindrance to the story. They actually serve to enhance the poignancy of the scene and/or move the story forward. The “Kondoram” song is beautifully shot in the Athirapalli Falls locale.

The underlying love between the lady of the Tharavadu and Odiyan is beautifully woven. There is no lust, just pure pristine love – the Thambrati that is mesmerized, just like a kid, by the shape shifting capabilities of the Odiyan and the Odiyan’s devout strong bond of gratitude for this Tharavadu.

Mohanlal – is certainly a fantastic actor. The way he has reduced his weight to portray a younger self is amazing. The way he expresses his gratitude to this Tharavadu; how he menaces the people that does wrong to him; how he ends the villain thereby serving justice – all just amazing. There are two scenes where Mohanlal scores as an actor – the one where he is on his knees, pleading his innocence, trying to explain to the Thambrati that he is not the culprit, the reason for the pathetic state of the widowed sisters of the Tharavadu. That imagery will haunt the viewers for a long time. The other scene is in the song sequence where he is shown as loathing what he does for living; he sees a bull in his shadow and shows surprise, fear, anger and self pity – all at once. Wow!

Manju Warrier – in her second innings, is cautious about her roles. And in Odiyan, she had gotten a meaty one, for her to happily sink her teeth in. She displays the vulnerability, yet the strength in her character, very easily. She, in a weird way is the reason for all hatred and the subsequent deterioration for one and all. Her face and her eyes speak more than her dialogues. Be it the scene where she is waiting for the Odiyan to appear as the deer in her front yard or the one where she spews anger on Odiyan or when she realizes the truth and accepts Odiyan back into the Tharavadu or when she nods to show her gratitude for saving the Tharavadu, or the one where she tells her sister’s teen-aged son “sometimes what we hear need not be the truth”, she is just amazing. It is a real treat to watch her on screen.

Sana Althaf – the blind sister and the widow of the Kelakkam Tharavadu. She is such a natural actor that she is very convincing as real blind person. She is the core of this piece and the only believer of Odiyan’s innocence.

Prakash Raj – the perfect, menacing villain, with no ethics whatsoever. He oozes venom all over and his lustful gait will certainly be nauseating. Though in today’s world, his nickname in the movie, Kariman, denoting black and also his bad character, can be considered racist, it has to be taken with a grain of salt for this is set in a period when there was no electricity. A period drama, when such names were absolutely fine.  The director could have utilized his skills even better. Though, his voice over in Malayalam was quite good, I still missed his original voice, which would have been even more ravaging.

Cinematography was apt with a tinge of yellow throughout. The Art Director should be given kudos for erecting a set to depict the village of Thenkurissi without electricity. They had ensured that all the electric poles were missing. Mamooty’s deep voice in the background to narrate the story is a classic touch.

Direction by V A Shrikumar Menon, in his first movie has done a good job of narrating this tale of the lost legendary character of Odiyan. Kudos to him for taking on a tough subject, with no real data or historical records and bringing Harikrishnan’s story of Odiyan, to life. Shrikumar will certainly go places as he grows in the industry, as he learns how to please the audience even better.

My Rating:

4.25 / 5 ?

Don’t miss this drama if you are a fan of folklores and legendary characters. A different taste served to us, to savour.

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Arno Kamolika ’s interpretation of Shyama – a Review

The following review is long over due…

I had the pleasure of watching Arno Kamolika’s interpretation of the Nobel Laureate, Rabindranath Tagore’s Shyama, last weekend. What an amazing performance it was!

Shyama, a tragedy, is one of the many great works of Tagore.

Shyama, the Royal Court dancer falls in love with a foreign merchant Bojrosen. She sees him as a captive of the Royal Guard, who has falsely accused him of stealing a precious jewel from the Palace. It was love at first sight for Shyama, and the time stops for her, in that moment. She had to save Bojrosen, by hook or by crook. Shyama requests the guard to keep him safe for two days, during which time she sends in the silly boy, Uttiyo in place of Bojrosen to free him. Though Shyama has rejected Uttiyo, he is in love with her and is willing to sacrifice himself, so that he could always have a place for himself in her heart. Bojrosen and Shyama escape from the Royal Palace and live happily with the local villagers. When Bojrosen comes to know of the truth of his freedom, he is not able to accept the heinous crime committed by Shyama to save him and therefore abandons her, forever.

In this production (Direction by Rohit Chokhani) the poignant tragic tale of Shyama was beautifully portrayed, as a soothing, but melancholic song. Arno has lived the character of Shyama. The way she has expressed her love and pain for Bojrosen, the ridicule and gratitude for Uttiyo was spellbinding.

Arno has been well supported by
Vidya Kotamraju as Bojrosen
Grihalakshmi Soundarapandian as Uttiyo in the first half and the villager/Sadhvi (Sannyasini/Nun) in the second half
Royal Guard Jay Ravindra
Sakhi by Malavika Santhosh.

Vidya, in the second half has emoted the pain of guilt and separation so well, that as audience, we could become one with her and want her to attain freedom. Grihalakshmi as Uttiyo was so jubilant, silly and vile, all rolled into one. When Uttiyo sacrifices himself, we could feel his selfish intentions – as he could never have Shyama, in a way he wanted to punish her, by tormenting her for the rest of her life.

Deviating from Tagore’s original, this production has opted for a very convincing conclusion for the character of Shyama. The drama begins with Shyama and also ends focusing her. The synchronization at the very end by all four, closing this production was just so good – all four were rotating exactly at the same time, so well synced, when the lights turned off and the curtains were pulled.

It would have been better if more Bharatanatyam steps and movements were incorporated, as this was a Bharatanatyam interpretation. Though I am not a professional, there were certain portions where I felt that it was more of another classical dance form and not Bharatanaytam.

One of the doubts that I initially had was, how could a Bengali poem / drama be adapted for a Bharatanatyam performance. This was shattered by the artists right in the beginning itself, within minutes into the program. The key flow of the story being displayed in the LCD helped. Once, we immersed ourselves into the drama of Shyama that was unfolding itself, the essence of Shyama transcended beyond language – once again proving that dance and music has no boundaries or barriers.

The music was so soothing and just flowed as a river.

Over all, a wonderful performance, an evening well spent. Hoping to see more such presentations in future!

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Hereditary – A Review

Directed by:               Ari Aster
Produced by:             Kevin Frakes, Lars Knudsen, buddy Patrick
Written by:                Ari Aster
Starring:                     Toni Collette, Alex Wolff, Milly Shapiro, Gabriel Byrne
Music by:                    Colin Stetson
Cinematography by: Pawel Pogorzelski
Edited by:                  Jennifer Lame, Lucian Johnston
Distributed by:          A24
Production Co.:          PalmStar Medis, Funch Entertainment, Windy Hill Pictures
Release date:             June 8, 2018

A lonely house, a vulnerable family of four with two teens that have raging hormones, a recent tragedy: a perfect, clichéd field for setting up a horror movie. Right? Unfortunately, there the clichés end in “Hereditary”, the newest horror flick directed by Ari Aster, touted as the new generation “Exorcist”. Hereditary, certainly has a fresh outlook on the horror genre.

Synopsis:
Annie Graham a miniature designer has lost her mom recently and is coping with the tragedy, even though she has not had a real pleasant relationship with the mother. Along with her in the same household are her stoic husband, 17 years old son and 13 years old daughter. Within a couple of weeks from the death of her mother, another tragedy strikes the Graham household. As a measure to cope with the tragedies, Annie does something, which pushes the movie to a point of no return and everything goes in a downward spiral – with no redemption for any of the characters.

Along with the family, the audience also begins to unravel cryptic and increasingly terrifying secrets about the family’s ancestry, followed by the death of Annie’s mother. The more discovered, the more they find themselves trying to outrun the sinister fate they have all inherited.

Analysis:
There are a number of things that has worked well for this movie, keeping the audience’s interest intact for the 127 minutes.

The strong storyline that is usually not common to the regular, clichéd horror flicks. There is an element of mystery throughout. It is more of a tragedy drama, than a horror movie up until a point. Hereditary is a character driven movie where the director takes time to build his characters so that the audience become one with them and actually feels the pain for the characters, when bad befalls them.

All the scenes are focused on the protagonists and their reactions to what they see. The camera is always in front of the actor so that we see their reaction to what they are seeing or experiencing, first. Ari allows the fear and horror they are experiencing settle down in the audience, slowly seeping under the their skin, along with the protagonists.

Each one of us, at one point or another, would have woken up in the middle of the night, groggy and confused and actually see things hovering; or imagining seeing things. There are a number of scenes in this movie where the camera lingers at a spot and we see “things” on the screen. However, as these apparitions are for only some fleeting seconds, it would certainly make the audience think twice – did they see something or not. Allowing the audience to relate to their own personal life makes the horror more effective.

The number of twists in the movie does not resort to the jump scares, which is common in a horror movie. It is this creepiness that gives one the shudder. The unknown and the things that might be really watching us over or could just be a figment of imagination – something that one is not sure of. The very thought that you don’t know what to expect, is menacing.

When the second tragedy strikes, instead of showing it visually, Ari leaves it as an implied message. He just rests the camera on his protagonist’s face and relies on the expression to convey the horror. The fact that he allows what has happened, to settle down, that actually gives the scare. The audience become immersed in the disturbing drama that unfolds.

The clues provided by Ari in the movie, does not allow the audience to guess the genre – it works in multiple points of view. The movie progresses as a drama, of people coping with personal tragedy up until that point when it becomes sinister and takes a U-turn into a hellish spiral.

The character of Paimon, (one of the 8 Kings of Hell, the one associated with wealth, prosperity and mischief) who finally gets a male host, is unwound clearly in the last 10 minutes. It is then that we understand the happenings of the movie. The title Hereditary is also explained as to how it is very relevant. The director also leaves logical room for a sequel and or a prequel in the future.

Miniature sets – the character of Annie Graham makes a living by creating miniature models. Her miniatures, their placements and how they depict the various aspects of the protagonist’s life, makes the movie sinister. The way the camera moves from miniatures to the real world will send the chills. There is that eerie disturbing feel to it, when finally you realize that the protagonists have all been manipulated, moved around, and actually used as miniatures themselves. This is the real horror.

Background score – there are no usual sounds we hear in a horror movie, like the creaking doors and windows or the wind howling. Instead it is a deep, unsettling, intense music. And there is the clicking of the tongue coupled with some blood curdling shrieks, which will give some shudders along.

This would certainly be a movie that would still be talked about after another twenty years, just like Manoj Night Shyamalan’s “The Sixth Sense”

The fact that this is not a regular horror movie where the audience can leave their brain out and just watch, can be seen as a deterrent. The audience has to involve themselves in the movie to understand the many nuances and the holistic theme.

Acting:
Toni Collette:
as Annie Graham is the highlight of this movie. It would not be surprising if she gets a nomination for the Academy Awards this year. Every scene that she is in, she ensures that the audiences are captivated to her. The three prominent scenes to look out for her tremendous acting skills are:

  • The unsettling outburst scene at the dinner table: the way she spews words at her son and once the anger is released, she calmly sits to eat her food
  • The dream scene where she confesses that she did not want to bear her son. Though she has her reasons, the words that come out of her mouth and what happens next will make ones’ jaw drop
  • The scene where she wants her husband and son to do what she wants and later speaking in the voice of her daughter, will truly send some shivers down the spine

Alex Wolff:
as Annie Graham’s son Peter – a tremendous powerhouse of action. This young man certainly has the potential to become a great star. A few scenes to his credit are

  • The scene after an accident where the camera lingers on his face – wow what an expression. One can see fear, sorrow and guilt all at the same time and the way he drives back home and goes to bed, will give anyone the Goosebumps.
  • The way he emotes in the classroom when he is scared of “something” with no physical presence. And at a later time when his face is smashed on the table and his nose broken – another great scene
  • Apart from these he has many scenes to show his vulnerability – the way he carries his sister and puts her in the car to take her to a hospital; the way he shows he is scared and actually cries; the way he asks his mother why she wanted to kill him – each one a gem on its own

Milliy Shapiro:
as the daughter Charlie, has given an eerie performance. Though this is her introductory movie, she brings in that terror in her eyes. Those eyes will haunt the audience for a long while. We can certainly see a wonderful actress in the making.

Gabriel Byrne:
as the stoic father has provided ample support to both the characters – of the mother and the son. This character lives for his family and wants the best for them in all the unfortunate circumstances.

Special note on the Trailer:
The trailer that was released for this movie has to be admired. It is one of those intelligent trailers that does not really give a clue about what the movie is going to be. There is a mystery shrouded in each frame, with a horrific background score, intriguing the audience. There are a number of scenes shown in the trailer that looks as if it were all in a sequence. However, in the movie, these scenes are not in a continuous sequence – in fact they are all placed at two different points in the linear time line of the movie.

Conclusion:
Do not miss this movie if you love horrors / thrillers. This movie will certainly make you look around at night in the dark, from the corner of your eyes; make you rub your eyes and try to see clearly, to make sure that there is nothing sinister, lurking around.

My Verdict:
4.5/5

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SOLO (Tamil) – a Review

This is an experimental art film by Bejoy Nambiar. It is an anthology of 4 unconnected short stories woven together through the four tangible elements of nature – water, air, fire and earth, which can all be destructive. The name of the protagonist in each story is a version of Lord Siva, the destroyer. Each simple story has an unexpected twist, sometimes pushing the boundaries.

WATER – Shankar

This is the story of the tender love between Shankar and a blind dancer Radhika. The strong bond of love between the two Is captured as a beautiful flowing poem of water. This story is narrated in a non-linear fashion with a twist towards the penultimate reels. The last scene in the beach is very tender and poignant.

Water, the element, plays a key role in this story and is ever present. It becomes one of the protagonists.

Dulquer Salmaan as Shankar and Dhansika as the blind dancer have excelled in their roles. This is the only story with a few songs. Music is apt.

AIR – Trilok

This is a story of revenge. There are two accidents – in one the victim is left to die a pathetic death. In the other, the victim is very quickly taken to the hospital, to be saved. The veterinary doctor Trilok – is he the saviour or…?

True to the element in this story, the air, the protagonist is just like air, which is there all around us as an envelope but is not seen. You can only feel the air, if the air wishes! Can air be destructive? Yes, it can, when it picks up speed and becomes the strong gusting winds.

The accident scenes are captured so realistically in this story. Kudos to the cinematography team. Once again Dulquer Salmaan has excelled as Dr. Trilok. Ann Augustine and Aditi Venkatesh have done their parts well, along with the supporting cast. Music is apt.

FIRE – Siva

This is the story of ruthless dons and the underbelly of Mumbai. Siva who works under a local don, is very protective of his younger brother as their mother leaves them and their father when they were young. Though he is a goon, Siva does not want his brother to be one. However, the brother takes up arms. Siva has a wife, Rukku, and a baby. Rukku hates the fact that Siva is becoming a don. Everything goes haywire when Siva goes in search of his father’s killer.

The element fire can be scene and felt in each scene – be it the Sparks that fly between characters or the ruthless killings. Just as how fire destroys everything on its path, there is destruction everywhere – both the physical and the metaphorical- everything is burnt to ashes. The background score of Aigiri Nandini, the Mahisasura Mardhini Stotram) elevates the rage and tension in the story.

The scene where Siva meets his mother in the end is amazing. Once again Dulquer Salmaan excelled as the young and angry Siva. His face speaks volumes in this story (as he does not have much dialogues to deliver). Shruthi Hariharan has provided adequate support as Rukku. Music perpetrated with Aigiri Nandini elevates the mood.

EARTH – Rudra

Rudra and Bhama are the kids of army officers and have grown together since their childhood. Their infatuation blooms into deep, destructive love. Bhama’s father opposes their love and tries to find a groom for Bhama, while Rudra spoils all the wedding plans by Bhama’s father. Bhama leaves for higher studies in Australia and suddenly terminates their relationship. What was the reason? Is there more murky secrets hidden in the closets?

The background of Army is very apt for this story of Earth. When the monster comes out of the closet, it can be deemed earth shattering and it certainly has the potential to stir up all controversies if ignored. Watch out for the bold twist that can destroy everything.

Dulquer Salmaan just fits into the role of the Army officer and also that if the lover boy very easily. Neha Sharma as the bubbly vivacious Bhama is just great. The way she had acted and her lip sync was so good that nobody would believe that she does not know the language. Music is just perfect.

SOLO

The USP of this movie is the anthology of strong stories and the fantastic action by Dulquer Salmaan. Dulquer’s mannerisms, body language and acting shows the variance in each character and one would only see the character, forgetting that it is the same person acting. Each element that is predominant in the story comes to life in every scene. The underlying theme of Siva and destruction is beautifully, poignantly and at the same time subtly brought to life on screen The music becomes one with the story. Though this is an experimental art film, the movie does not lag at any point.

The English title of the movie is also very apt. Solo – our protagonist is unfortunately solo at the end…

My Verdict:

4 / 5

If you are a lover of different (zara hat-ke), artistic movies, rich in characters and story, don’t miss this one.

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ROOM (2015) – A Review

Cast:
Brie Larson
Jacob Trembley

Direction:
Lenny Abrahamson

Synopsis:
ROOM is a profound story of a mother, raising her son in captivity. They are kept captive by her abductor and tormentor, in a shed, with no windows except for a skylight, their window to the sky. How they escape their ill fate and later cope in the real world forms the crux of the story. It is a tale of endurance and boundless love between a mother and her child.

Highlights:
Though this movie is rated R for the strong, mature content (captivity, physical and mental torture), the narrative is through the eyes of this 5 year-old boy. He is the star here and it is all about what he sees – good bad and the real ugly too. Even though this child is a witness to menace and torment, the innocence in this little child is brought out in every scene. For example, this boy diligently says Good Morning to each and every inanimate thing in the ROOM every morning – as they are all his friends; the world that exists in TV is not real for him.

In this movie, the ROOM plays an integral part and becomes a protagonist. It is in this room the child is born. It is here that the mother and son create their own world and spend time as they have been kept locked in this ROOM (which is nothing but a shed) for seven years. The only other person that comes into the room is their captor. He keeps the only door to this ROOM always locked (with a digital code). Though this ROOM is right in the middle of a nice neighbourhood, no one even knows that this mother and child exist in this shed.

The way the mother teaches her son the existence of an outside real world – the wall of the ROOM and the inside-outside concept, which he talks about later in the movie when he is free and in the real world – he says, each wall leads to another and yet another wall is there outside.

The director has taken utmost care to depict some of the minor details – like how the boy adjusts to the free world; he was born in captivity and has never seen an actual house – the way he struggles for climbing a flight of steps; how he marvels at the world outside the big window at the hospital; and how his eyes are not adjusted to the sunlight and he has to wear sunglasses; etc.

Clever use of fetal position – per psychologists, if someone is in tremendous mental pain or is extremely frightened, they curl themselves into the fetal position. The primary position while in the safety of the mother’s womb. A number of times both the protagonists get into this position showing what they are undergoing without exchanging any words.

The boy is only aware of one safe person – his mom. To provide comfort to this boy, the mother gives him her broken tooth, so that he could carry a part of her always, as his guardian angel. When they devise the plan to escape, he clings to this tooth as a part of his mother; he keeps this tooth safe and shows it to his grandmother at another instance in the movie, telling her that his mother was always with him.

When the mother and son return to the ROOM one final time, escorted by the police, the boy very casually says, “The room has shrunk”. This is so true, in our day-to-day lives. Once our knowledge increases in any area, what we originally knew would become negligible. It shrinks. These are such powerful words that we can all relate to and might have used (when we move from a village to a city, the village actually shrinks in our perception).

Lowlights:
Though I couldn’t find anything wrong in the movie, the only thing that could be deemed, as flaw is the explanation given for the abduction. Would a 17 year old be so naive to walk with a stranger to help a puppy? That being said, it is very well possible as 17 is certainly the age when kids want to behave as adults and can very well get themselves into trouble.

Acting:
Brie Larson absolutely deserved the Oscar that she got. The way she showed her frustrations, her pain all through the eyes and facial expressions is just amazing. It will haunt you for a while. The two scenes (according to me) that will be etched in the viewers’ memory for sometime are –

  • the one where she is freed and she meets her son; they see each other through the window of the police car – the son inside and the mother outside, with blaring sirens.
  • the one last time that the mother and son visit the room; the son says goodbye to each and every item in the ROOM and leaves, just very casually, while the mother stares into the room – what a haunting look…

Jacob Trembley, the Vancouver wonder is just a delight to watch. He has got some of the most powerful dialogues in the movie and he delivers them with so much ease, in a very matter of fact way. He is innocence personified. The way he is content in the ROOM and how he shows his anger and fear is simply amazing. Words aren’t enough to praise this young actor. No particular scene can be quoted as the best for Jacob Trembley’s character. Every scene he is in, is a gem and can tell a tale on its own, giving you Goosebumps.

Supporting casts – have all done their job to perfection. Each person very apt for the role – be it the tormentor that oozes menace and sadism in his looks; the mother who has gotten her little girl (now grown and with a son) back after many years and want to support her; the mothers boyfriend who is very inviting and tries to bond with the little boy; the girl’s father who is not able to accept the truth in his little daughter’s life.

My Verdict:
This is neither a tearjerker nor a movie that preaches about right and wrong. Immerse yourself, get involved and watch this movie. You will come out with a heavy heart and a lump in your throat. Certainly NOT to be missed.

5/5

Post Script:
Just a while ago, I had written a poem on “Lost Souls” based on those people that have gone missing. In Canada we have a number of people that go missing each year. Many are found and returned safely to their homes. For quite a few, unfortunately it is their mortal remains that are found. However, there are a few that are never found and their files are closed as unsolved cases and their families never have a closure.
 
This movie, “The ROOM” which is about one such missing person, made me wonder as to how many such missing persons are held captives in a shed or a basement – right in the middle of any wonderful neighbourhood – that we cannot even imagine and our senses would deny to accept.
 
Would we ever find them all? Would there be a closure, ever for these Lost Souls?

Lost Souls

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Origin – A Review

May our philosophies keep pace with our technologies. May our compassion keep pace with our powers. And may love, not fear, be the engine of change!

Origin – the latest science fiction mystery thriller best seller by Dan Brown. Brown attempts to answer the most intriguing universal mysteries of mankind – human creation and human destiny; in other words, where did we come from and where are we going? In a typical Brownish way, he answers these questions, stirring up a hornets’ nest, treading between science and religion through his favourite character, Professor Robert Langdon; trying to prove or un-prove – The dark religions are departed and sweet science reigns. Leaving it open for interpretation.

Edmond Kirsch, a futurist and an atheist, who blames the Palmarian Church for the death of his mother, meets the three most powerful religious leaders (Roman Catholic Bishop Antonio Valdespino, Jewish Rabbi Yehuda Köves, and Muslim Allamah Syed al-Fadl) in Catalonia, Spain. He informs them about his discovery and how it was going to be the end of all religions. Soon after that meeting, two of three leaders (Jewish Rabbi and Muslim Allamah) are brutally murdered. Despite a warning voicemail from Bishop Valdespino, Kirsch was going to go ahead and announce to the world his discovery at the Guggenhiem museum in Bilbao, whose director is Ambra Vidal, the future queen of Spain.

That evening, Spain is in turmoil with the ailing king who is breathing his last and the future king, a modernist, torn between religion and modernism. In this dramatic setting, right after Kirsch completes his introductory presentation and just before announcing the big discovery, he is murdered even more dramatically right in the presence of the hundreds that had gathered at the museum and over millions that were watching his presentation. From that point, starts the cat and mouse game – Langdon and Vidal wanting to find the 47letter password (a line from Kirsch’s favourite poem) that would help them release to the world, his discovery. Langdon and Vidal are aided by Winston, who is Kirsch’s most sincere and devoted personal secretory, an AI (Artificial Intelligence, a computer sitting in a remote lab in Spain).

How Langdon and Vidal find the password and release the discovery, fighting all odds and perils on the way forms the crux of the novel. We know right from the beginning, the involvement of a person called “Reagent” in the murders. However, who is this Reagent who is orchestrating the events that night? What is the Reagent’s motive? The needle of doubt moves from the surviving Bishop Valdespino, to the prince and future king of Spain, to the ailing king who is out there to protect the religion, to the pope of the Palmarian Church, to the others in the Royal Palace – each having their own strong motive to ensure that the discovery is buried deep down, never to surface, ever.

Though Kirsch’s discovery is unfolded and narrated in a very convincing way, neither his theory on creation nor destiny is actually jaw dropping. It is the identity of the Reagent that comes as a shock. There is a lot of food for thought at the end, and if that’s what the future holds, it certainly is scary. And Science, in a weird way, ominously fulfills the religions’ philosophy, as quoted by Brown, in this novel

  • Historically, the most dangerous men on earth were men of God… especially when their God’s became threatened.
  • Martyrdom is at the heart of all religion.

The timing of the release of this novel is just amazing – right when Sophia robot is garnering all attention as she is the first robot to be given citizenship (Saudi Arabia) and the various interviews with Sophia that are available in the internet. We can see the bubble forming, wherein all over the world everything is moving towards automation and Artificial Intelligence is becoming the core processors, eliminating all the regular low paid jobs, in the near future. The kind of human destiny that Kirsch predicts may actually not be that far away, after all…

This book is certainly worth the read, for its fast paced action packed drama – will certainly be a page-turner until the very end…

My rating – 4.25/5

A few quotes from the book that I liked

… the teachings of all religions had did indeed have one thing in common. They were all dead wrong.

When you see me face-to-face, I’ll reveal the empty space.

From the depths of my deepest despair, I have risen to the moment of my most glorious service.

Whoever fights monsters should see to it that in the process he does not become a monster

My friends, I warn you, evil will swallow us whole if we do not fight force with force. We will never conquer evil if our battle cry is “forgiveness “.

The Expanding eyes of Man behold the depths of wondrous worlds

Life not only obeys the laws of physics, but that life began because of those laws.

Love is from another realm. We cannot manufacture it on demand. Nor can we subdue it when it appears. Love is not our choice to make.

Those who cannot remember the past are condemned to repeat it.

Sometimes, all you have to do is shift your perspective to see someone else’s truth.

Love truly is not a finite emotion. It can be generated spontaneously out of nothing at all.

← Back

Thank you for your response. ✨

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Manchester by the Sea – an Analysis

Cast
Casey Affleck                     as Lee Chandler, a grief-stricken loner
Michelle Williams              as Randi, Lee’s former wife, now remarried
Kyle Chandler                      as Joseph “Joe” Chandler, Lee’s brother
Lucas Hedges                     as Patrick Chandler, 16-year-old son of Joe and Elise
Ben O’Brien                          as young Patrick
Gretchen Mol                       as Elise Chandler, Joe’s former wife
C.J. Wilson                             as George, the Chandlers’ family friend

Credits
Directed by:              Kenneth Lonergan
Produced by:           Matt Damon, Kimberly Steward, Chris Moore, Kevin J. Walsh, Lauren Beck
Written by:                Kenneth Lonergan
Music by:                   Lesley Barber
Cinematography:  Jody Lee Lipes
Edited by:                  Jennifer Lame
Production by:        K Period Media, B Story, CMP, Pearl Street Films
Distributed by:        Roadside Attractions, Amazon Studios
Running time:          137 minutes
Country:                     United States
Language:                 English

Rating
Rated “R” for strong language throughout the movie and some sexual content. Parents need to know that this is an intense dark drama dealing with death, grief, acceptance, marital strife, anger and disenchantment.

Synopsis
Manchester by the Sea is the story of a brooding guilt ridden loner janitor Lee, who is suddenly entrusted with the responsibility of taking care of his brothers’ teenage son after the brothers’ untimely death, in a cold winter. This death forces him back to his hometown, Manchester by the Sea, a small beautiful coastal town, with fishing as its main occupation. This is where Lee has to not only deal with the current situation of death and grief, but also his own guilt ridden past. How he deals with the situation forms the crux of this poignant tale. Though this is a dark story dealing with death and grievance, it is interlaced with humour making the characters more humane and allowing the audience to identify themselves with the characters. In one of the very important scene, where Randy is taken into an ambulance, we can see the paramedic fumbling with the stretcher.

With fantastic acting by all the protagonists, a poignant story, amazing cinematography, beautiful locale and haunting background score, this movie is an absolute must watch. It is poetry in motion!

Spoilers ahead
Character Sketches
Lee Chandler:
Lee is the key protagonist of this drama. The entire movie is from his point of view and how he is adapting to the varying circumstances thrown at him. Lee is guilt ridden and shuns himself for what he has done. He is divorced, distances himself from his family (brother) and his hometown and lives a quiet, sullen life as a janitor taking care of four buildings in Boston. The untimely death of his brother Joe brings him back to his hometown and he is forced to face his demons. His past is revealed to us in bits and pieces, like a puzzle, while he is dealing with his present situation. He is a loving husband, doting father but that one unimaginable incident turns his life topsy-turvy. Though he is not experienced as a parent, he tries to do the role entrusted onto him with utmost sincerity, while trying to get rid of the responsibility, at the same time. While Lee does not want the responsibility, he is not willing to hand him over to his alcoholic mother.

Lee’s burden (both physical and emotional), has been beautifully underplayed by Casey Affleck. A few poignant scenes, which absolutely make Casey Affleck deserve the academy award for the best actor, are

  • When he comes to the hospital and sees his dead brother in the morgue. He controls his tears and just places an affectionate peck on the dead mans cheek. One can feel the conundrum in his mind, love for his brother in his eyes, though he appears stoic
  • At the police station right after his home is burnt down, due to his negligence, where he ask “Is that it? Am I allowed to go now?” Wow! What an amazing scene. As an audience you can see and feel his guilt all over his face and also his disappointment as to why nothing was done to him by the police – why he is let go as deserves to be punished
  • Patrick’s (Lees nephew) panic attack. The way he deals with it and how he finally just sits in Patrick’s bedroom quietly just to comfort his nephew. One can see the affection and bonding towards his nephew
  • After the fight at the bar and when he is hurt badly, George saves him and brings him to his house where he breaks down in front of George’s wife
  • The final scene with Randy where Randy accepts that she was harsh with him, more than what was required and how she repented her decision after all these years. Absolutely wonderful scene as he controls his emotions, just says, “There is nothing there” excuses himself and walks away.

Patrick Chandler:
Nephew of Lee Chandler, he is the typical teen. His father is dead, but he goes on with his life just as is – hockey, band and girlfriends. This character is the antagonist to the main protagonist, Lee. Though the bond between them is established in the very first scene in the boat, as a confused teenager who is forced to live with his uncle as his guardian, he provides ample challenge to Lee. Lee wants to wind up everything in Manchester and move to Boston with Patrick. However, Patrick does not want to move out, as he rightfully says, his life was in Manchester by the Sea. Patrick brings out his turmoil and innocence beautifully.

There are a couple of scenes where Lucas Hedges’ character is given enough meat to showcase his talent.

  • The scene when he comes to see his fathers’ body in the morgue. Though he wants to show that he is a man a macho, he is. It able to handle it and just leaves immediately.
  • The other one is the scene where he is having a panic attack in the middle of the night where he just crumbles under the situation – he equates the meat in the freezer to his fathers body kept in the freezer (due to the cold weather the land has frozen and they have to wait for the ground to thaw. Ergo, they have to delay the burial of Joe, Patrick’s father). The way Patrick melts down and finally goes to sleep, with the knowledge that his uncle is there to comfort him, to take care of him, would surely melt the audience.

Randy Chandler:
Randy is Lee’s ex-wife and a mother of 3 beautiful kids. Her character is seen in bits and pieces throughout the movie. Her beautiful world is torn apart due to a negligence on Lees part – unimaginable and very powerful – which becomes the reason for their separation. She grieves her loss in her own way, by completely blaming Lee for the incident and getting away from him. Though she is divorced, she is still in good relation with her brother-in-law Joe and his son Patrick and participates in the funeral.

The scene given to her to showcase her acting skill is her final meeting with Lee, where she accepts that she need not have been that harsh with Lee and should not have ruined his life too. Though he has accepted her grief and has moved on in life, she is guilty of ruining Lee. Michelle Williams has emoted the best in this scene.

Joe (Joseph) Chandler:
Brother of Lee and father of Patrick. His presence can be felt throughout the movie. It is his death that brings Lee to Manchester. Joe is a wonderful father and brother. He is also a tolerant husband, who accepts his wife as is. We can see that Joe is very protective of his brother. When the tragedy strikes, he supports his brother both psychologically and financially. When he comes to know of his own irreversible heart condition, he still calmly takes it in his stride and makes calculated arrangements and provisions for his son. As the lawyer says, he makes provisions for the littlest of things, like funds for his brother Lee to relocate to take care of his son. When everyone in that town despises Lee for what he has done (everyone whispers when Lee is around. In one scene, when Lee goes in search of job to one of the traders in town, right after he leaves, the traders wife comes out to say that she doesn’t want Lee in their premises anymore), Joe entrusts him with the responsibility of his son for he sees the strong uncle nephew bond (which runs all along the movie even when Patrick rebels).

Manchester by the Sea:
This town is one of the major characters in this tale, as this is where the story is taking place. It is a small beautiful coastal town, where everyone knows everyone. However, as an audience, there are secrets and demons hiding there, for us to uncover slowly as the movie progress. The director has captured the towns’ beauty, in its full bloom – be it the sea, the frozen lands, the water facing houses, the lonely nights with the moon shining above – everything has been amazingly captured in all detail.

Minor characters:
Elise
Patrick’s mom, an alcoholic, leaves her husband and kid and goes absconding. Though Joe and Lee have not been in touch with her, we do come to know that Patrick has been in touch with her. After Joes death, a changed her, invites Patrick to her house where she is living with her current fiancé, a devout Christian. Though Lee is not in favour of Patrick visiting Elise, he does drive his nephew to his mom’s house in Essex. It certainly is an awkward reunion of mom and son, where Patrick realizes that he is not able to connect with her. After the meeting, Lee contemplates of sending his nephew to his mother, but Patrick receives an email from Elise’s fiancé asking Patrick to contact his mom through him, for her own good. We do not see much of Elise’s character.

George
George is Joe’s business partner and friend. George stands by Lee and Patrick as a pillar of support – right from Joe’s death to the funeral service. Finally, George and his wife adopt Patrick as their son, thereby relieving Lee of his duty as Patrick’s guardian.

Underlying Themes
Grievance:
This is the most important theme of this movie. How each person deals with grief is different. Everyone deals with it in his or her own way. Lee distances himself from everyone. Randy becomes abusive of Lee and doesn’t want Lee with her. Patrick gets more involved with the various things he does and creates distractions for himself. George is not ashamed to cry in public, at the hospital. Though grief is foreboding and when someone you love passes on, life still continues. Everyone learns to deal with grief over a period of time and move on – keeping the memories intact.

Guilt:
Lee is guilty of his act. Immediately after his release from the police station, he tries to grab a revolver from an officers’ holster and shoot himself. He is stopped and saved by others around him. He lives a monotonous boring life, without allowing anyone in his personal space, in a remote location away from his hometown. He is becomes a frequent visitor at the bars. This is his way of dealing with his guilt. Randy on the other hand cries her heart out.

Machismo:
Lee and Patrick, the 2 main male characters try to portray their manliness by being stoic in all situations. They try to hide their feelings when in the company of others. In their private lone moments, they cry out to their deaf pillows. Their sorrow is strikingly shown by the lone moon at the sea or the lone star over their home. This bottling up of emotions has its negative effect on both Lee and Patrick. Lee picks up fights in the bar and is badly hurt in one of the fights where George had to save him. Patrick has a panic attack, where he crumbles. In a way, it tells the audience that it is okay to let go of ones’ emotions.

Forgiveness:
Over time, all characters realize the importance of forgiveness. Things happen in life, but as humans we are to forgive not only others but also ourselves for things that have happened and were out of our control. Randy, Joe and Lee are all able to forgive one another. However, we get a feeling at the end that Lee is not able to forgive himself for his negligent act.

Time is the ultimate healer:
Another theme that is spread across the movie is that fact that time is the ultimate healer of all wounds. It just takes its own course. It is the Love towards our family that helps us in this healing process.

Conclusion
Life is a journey with both happiness and sadness and we are forced into situations sometime created by ourselves and sometimes forced on us. We have to look at things positively and forgive people, particularly the ones we love. Though things cannot be undone in life and lost loved ones brought back, with family and bond of love, we can be happier and sail through this Sea called Life. The movie starts with death and through this misfortune, people rediscover themselves strengthening their bond of love – a simple message Life is Beautiful!

A beautiful poetic movie, worth the Six Oscar nominations and the two award it received – Best Actor for Casey Affleck and Best Original Screenplay for Lonergan!

Highly Recommended

5 / 5