Bramayugam

Bizarre. Hypnotic. "Bramayugam" isn't just a film-it's a folkloric fever dream, a black-and-white incantation that coils around your spine and whispers in the dark. I was glued to my seat from that creepy start right through the "Age of Madness" playing in the post-climax's deranged crescendo. Even now, after leaving the theater, I still feel like I'm hanging out in that eerie Bramayugam mansion, buzzing with all sorts of messed-up feelings. How awesome to see the theater was houseful and that folks are really digging this kind of bonkers movie!

Mammootty doesn't just act here; he transforms. He is Kondamon Potti, a grinning, malevolent force of nature, a masterclass in controlled chaos. With his ever-watchful caretaker (Siddharth Bharathan) and a runaway singer (Arjun Ashokan) crashed at his place, watching their messed-up personalities tangle under that fragile layer of horror? So cool. The mansion breathes, the shadows watch. The film's horror DNA is meticulously stitched, pulling from the chilling atmospheres of classic German Expressionist horror, modern anxieties found in A24's catalogue or Oscilloscope productions, and especially those Hammer films.

Coming to Mammootty, I can't stop praising him. He holds court-a grinning, grotesque puppeteer. His performance isn't acting, it's alchemy. Every smirk, every silence, every flicker of his eyes blurs the line between man and monster. The supporting cast orbits him like doomed moths, their fates etched into the very air, in a ridiculous descent where every composition feels like a cursed etching.

Among Megastar Mammookka's current filmography, it's one of his absolute best, if not the best. His terrifying laughter, the look on his face, his total commitment-this role has no equal, unless we're talking about the 'Devil' himself. He deserves to be up for every single best actor award across the globe. In the finale, Mammootty is so twisted in a battle, lit for a more sinister look, and the camera just statically holds on his face and mouth. In that moment, we, as an audience, feel a whole range of emotions: anger, surprise, a bit of horror, disgust. The final act locks onto his face, and what unfolds isn't just acting-it's possession. All these emotions are clear as day and caught, and it's not for some artsy-fartsy show-off.

Ditching color wasn't just about looks-it was necessary. The monochrome palette strips away distraction, leaving only shadows and pure dread. It's a bold move for Malayalam cinema, and it totally nails the atmosphere, especially with Christo Xavier's killer score and Jayadevan Chakkadath's awesome sound design.

In closing, the pacing is deliberate, the dread is meticulous. But if you just let yourself get swept into its rhythm, the payoff is visceral, grotesque, and unforgettable. A folk-horror opus that doesn't just haunt you-it moves in. I'm excited to see what Rahul Sadasivan conjures up next.

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.

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.

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.

This Malayalam film is a bold attempt to delve into the depths of Kerala's mythological lore. Shot entirely in black and white, the film creates a stark and eerie atmosphere that complements the chilling narrative.

The film's cinematography is a character in itself. The black and white palette is employed with masterful precision, creating a haunting and atmospheric visual language. The stark contrast and shadows add depth to the narrative, heightening the sense of isolation and dread. The choice to shoot in black and white is a bold one, but it pays off handsomely, elevating the film's horror elements

The story unfolds at a leisurely pace, building suspense through its atmospheric storytelling. Arjun Ashokan delivers a commendable performance as the protagonist, capturing the character's fear and vulnerability.

Mammootty's performance in Bramayugam is nothing short of exceptional. His portrayal of Kodumon Potti is a masterclass in understated menace. The actor completely disappears into the character, embodying the eerie aura surrounding the enigmatic old man.

Mammootty's screen presence is magnetic. His every gesture, every look, carries a weight of sinister intent. His character is shrouded in mystery, and the actor skillfully maintains this air of ambiguity throughout the film. Whether it's his chilling laughter, his predatory gaze, or his subtle manipulations, Mammootty's portrayal is a standout.

The film's greatest strength lies in its ability to evoke a sense of dread and unease. The use of sound design and background score is masterful, creating a haunting soundscape that amplifies the horror. The cinematography is exceptional, capturing the bleakness of the setting and the characters' isolation.

While the film's pacing might be slow for some viewers, it contributes to the overall atmosphere of dread. The ending is open to interpretation, leaving a lasting impact on the audience.

*Bramayugam* is a refreshing departure from the typical horror fare, offering a thought-provoking and chilling experience. It's a film that demands attention and rewards patient viewing.