Bramayugam

It's been a while since a first-day-first-show experience, ha. Funnily enough, that had to be for a full-length black & white Malayalam film. While the story premise isn't exactly new, the setting and the style of presentation certainly are, at least by Indian film standards. The closest I can think of is the underrated gem Tumbbad, though Bramayugam is steeply rooted in Kerala's folklore. After a ghastly encounter with a malevolent being, a runaway singer (Arjun Ashokan) accidentally takes refuge in a dilapidated mansion during the 17th century in Kerala, where Kodumon Potti (Mammootty) and his caretaker (Siddharth Bharathan) reside. This is the one-liner, but the film is SO MUCH MORE!

Firstly, I want to applaud writer-director Rahul Sadasivan's decision to keep the film in black & white throughout. It not only helps set an eerie tone, but it also makes the experience a lot more fulfilling as we proceed into the final act when key characters go through potentially fatal situations. The script is thankfully in no hurry, and since we mostly see the three characters mentioned above taking up the majority of the screenspace, all of them get a sweet slow-burn build, particularly Mammootty's. One thing to note here is that while it is a horror film by definition, Bramayugam also places equal footing on the genres of mystery and suspense, even when it all unravels at a single location. Shehnad Jalal's cinematography constitutes repeated shots of various spots in and around this particular location - the traditional facade, the messy kitchen, Potti's dining and recreational areas, the overgrown weeds, and some "unexplored" spaces that we know will get covered later on. The aesthetics reminded me heavily of a Robert Eggers film, and art director Jothish Shankar deserves a lot of praise (and probably some accolades).

Christo Xavier comes up with a brilliant sinister score, and the inclusion of a few, well-placed old-school songs takes you back to a bygone era. The equation between the three lead characters keeps changing, and that's where the writer in Rahul Sadasivan plays mind games with us. At first, it gives off the impression of diving into feudalism, and Mammootty is channeling a more blood-curdling version of Bhaskara Patelar (from Vidheyan). But the director keeps reminding us that it's a horror film with frequent flashes of horrifyingly raw imagery, an intimidating score, and Mammootty's creepy laughs. There aren't any forced jumpscares, and the makers rely on the atmospherics and character evolutions to amp up the horror quotient. Editor Shafique Mohammed Ali smartly transitions between slow and fast cuts depending on the tension levels within each scene.

The film's pace dips a little in the second act, but the locales and the overall unpredictability keep you invested. The final act is well executed, with a few shocks and surprises in store. I think this is where the application of a black-and-white tone greatly helped, as there as scenes where you'll find it difficult to distinguish between real locations and artificially created sets. I didn't anticipate these many shots having visual (and practical) effects in the film and the respective departments have done a commendable job. I think it's a bit of a cliché by now, but it's safe to say that Mammootty's attempts at revitalizing the stunning performer in him continue in Bramayugam. He's every bit the vicious presence he's expected to be, right from his introductory shot.

Arjun Ashokan once again plays a naive, servile youngster and is mostly good, though I wish he doesn't get typecast. Siddharth Bharathan is solid, and I guess we'll see more writers and directors utilizing him in various "character roles" in the near future. Bramayugam offers a different kind of theatrical experience, and if you're ready for something unusual in terms of storytelling and presentation, then chances are, you may find it fulfilling too. Also, this is clearly designed for theatrical viewing, and I doubt the levels of enjoyment when experienced on a smaller screen.

Bramayugam is truly an intense cinematic experience! It's the kind of film that stays with you long after the credits roll. I was riveted to my seat until the very end, captivated by both "The Beginning" and the hypnotic closure, "The Age of Madness." Even now, as I step out of the theater, i still feel like im stuck inside the eerie confines of Bramayugam's secluded mansion buzzing with emotions. It's fantastic to see the public embracing this messed up film.

Only Mammootty can acheive this feat on a godfarsaken mansion (pun not intended), we as an audiece are in company of Kondamon Potti shouldered by the megastar which is a masterclass in controlled chaos. He's joined by his ever-watchful caretaker (Siddharth Bharathan) and a runaway singer (Arjun Ashokan) seeking refuge. Their disparate personalities intertwine beneath the fragile veil of horror, revealing hidden depths and simmering tensions. Also an important decision was give to up on color. Either they wanted to strengthen the effect of isolation, or it helps to throw brownie points for gloomy atmosphere, or it is a tribute to the cinema of the first half of the last century, whether color distracts from what is happening and prevents you from focusing on the most important. There is a feeling that all these points combined led to this style for the successful and a brave attempt in Malayalam industry accentuated with some killer score by Christo Xavier and sound design by Jayadevan Chakkadath.

The film's horror DNA is meticulously woven, drawing upon the chilling atmospheres of classic era of Hollywood, especially the Hammer films, there is some unsettling surrealism of Gaillo, and the contemporary anxieties explored by A24 catalogue. This layered approach creates a hauntingly original experience using the local folklore. Theatricality of action unfolds in the minimum of scenery - the Mansion house, the courtyard territory, blown by all the winds, and, through the tunnel, the sacred path to the bewitching climax.

Megastar Mammookka's current filmogrpahy is really one of his best, if not the best. His frightening laughter, the expression on his face, his level of commitment - this role has no equal, unless of course the 'Devil' himself. He deserves to be in the nomination for every freaking best actor award across the globe. In the finale, Mammoty is so twisted with a battle, illuminated for a more sinister look and the camera statically shows only his face and mouth. In this moment, we as an audience experiences a range of emotions: anger, surprise, a little horror, disgust. All these emotions are visible and caught and this is not done for the sake of aesthetic buffoonery.

Final thoughts, this is no popcorn flick. The film's unhurried pace, akin to a slow burn, might test some viewers patience. But for those willing to surrender to confront the darkness, a powerful payoff awaits as the second half explodes with surreal imagery and shocking revelations.

An Aithihyamaala style masterpiece!! Had so much of expectation for this movie and it broke that expectation and soared past sky level. It was with awe that I watched Mammooka's performance. Lord of the rings needed VFX but here just the sheer brilliance of Mammookka on his acting made it exemplary. Arjun Ashokans career best performance and Siddharth Bharathans subtly master class acting. The decision to make it into a black and white release was perfect as it added all the desired effect on its dark theme and horror. Every shots were amazing and that inception style rotating room was just kidu. This year looks to be a bright one for Malayalam Cinema.

Bramayugam starring Mammootty in the lead role. Also starring Arjun Ashokan and Siddharth Bharatan

Directed by Rahul Sadasivan.

*** A horror mystery set to convey the evil side of Rulership ***

Set in the period of the 17th Century where black magic, lust for power, control was in extreme, Bramayugam creates a world of the power vests in the hand of the evil & how the helpless society falls prey into this gamble of dominance.

As the whole movie set in Black and White, for me the impression was it was unambiguous of the dominance of the superior over the downtrodden.

Performance wise what we thought was completely different of the characterization of the megastar Mammootty. The thirst for acting has never ended and that's clearly being noticed in each frame of his. The cruelty of the character was very well absorbed by him and that's why he is the Kulapathy of the Malayalam Film Industry.

Another note worthy performance of Arjun Ashokan. The career graph of Arjun will escalate here onwards.. Siddharth Bharatan also gave a fitting performance.

The songs set back in the 17th century was pleasing. BGM added the horror mode.

Overall a purely experimental movie but with the good technical work and class performers Bramayugam sets a new benchmark for the upcoming horror jonor movies in Malayalam Film Industry.

Bramayugam. Mammootty proves he is a flabbergasting ogre in performance. Review by M. Siraj

Bramayugam, directed by Rahul Sadasivan, is a brilliant folklore horror thriller that explores power corruption and human greed, and Mammootty's standout performance versatile acting, and script selection make it a must-watch cinematic experience. In the 17th century, Devan (Arjun Asokan) runs away with his friend Kora in the thick forest, at night Kora is dragged away by Yakshi (Witch/Goblin) making him fall into a trap of enchantment as he enters into a nearby dilapidated Mana (mansion) to save his life from it. In the beginning he doesn't know the mansion belongs to Koduman Potti (Mammootty) who trapped him in the supernatural house of cruelty.

Movie is slow paced in the beginning and takes time to set up the plot, later goes fairly engaging with an extraordinary creepy and scary performance of Mammootty. Every scene goes elaborated with visuals and sound effects. The art work is excellent as the Mana (Mansion) and its surroundings are untidy, nature has reclaimed parts of it, with vegetation creeping up the walls and many roof tiles broken as the look itself screams, "visitors not allowed".

Mammootty excels as the role of a Villain in howling horror, as seeing his shadow comes the shudder that comes from seeing the shadow of Dracula, the horror effect he gives with his vision and voice while sitting majestically in a chair distorts the stomach of audience. Ogre

Hats off to Director Rahul Sathasivan for framing the story in Black and White with only 3 characters throughout the film, slowly narrates how Devan escaped from that Mana (Mansion) full of occult and ambiguities to become his prison. Mammootty has brought the character to life with his trademark voice, laughter with stained teeth and sitting posture, as well as the tone of the legend and nerve-wracking intimidating gaze. In some scenes, his voice, even his shadow, makes us convulsion to compensate for his presence. Cinematography is the backbone of the film, shot entirely in black and white, (Hats of the Director's courage) with a single ruined mansion (Mana) palace as the plot. Along with the lighting for black and white, his compact frames go hand in hand, transmitting horror and the supernatural in depth. In fact, every frame and angle of Mammootty replicates the voice of that Koduman potti character. Background music plays a pivotal role in the movie by transmitting to the audience many feelings of mystery, deceit, aggression and fear, vividly through a mixture of folk and Carnatic music giving boundary shots in horror scenes. Director's concentrated collage can be felt not only in the thrill scenes, but also in the scenes that show the mental state of the characters. Director Rahul Sadasivan made an absolutely terrific folklore horror with brilliant metaphorical layers on power corruption and human greed whereas Mammootty proves he is a flabbergasting ogre in performance.

There is a famous Dialogue by Mohan Lal in the Film "Manichitrathazh" as follows:

"Oru mano roga chikilsakanum sanjarichittillatha vazhikalil koodi gnan sanjarichu ennirukkum. (I may travel in any route which other Psychiatrist were not travelled) Oru branthanai pole. (As a mad man) Ente nakulanuvendi. (For my Nakulan) Avante bharyakku vendi. (For his wife) I am going to break all conventional concept of psychiatry".

Here Mammootty breaks all the conventional concept of a Hero. Even after 400 films in his credit, his quest for new roles, passion for acting never ends. Really, he is a mad man who had the courage to travel in different routes which other actors are not dare enough to try. He is least worried about his image, concentrating only for the Character he portrays.

Yes. Mammootty is a Mad Man.

Review by M. Siraj.