Naman il bramino

Brahman Naman starts of extremely well. Set in 80s Bangalore and being a Bangalorean all my life I enjoyed the setting, its about Naman and his gang of friends who are all into quizzing but are equally sex crazy and want to lose their virginity at the earliest. This leads them into some hilarious situations and some badly failed attempts.

Its a great idea on paper and could have been the Indian geeky version of American Pie but somehow Mukerjee (the director) and Ramachandran (the writer) don't know which tone to keep the film moving.

The movie does become a serious affair in the last half hour when Naman and his friends start looking for love and sex together which made me confused. Frankly, the comedy was so good that didn't require them to take such a serious turn. The rule is simple folks - Sex comedies should never become serious, keep it simple and light.

If you are a quizzer like me you will love this film because there is so much quizzing here. I loved the idea of the director putting a question to audience between the film. There is a lot of Shakespearean English here , so don't get lost. And if you are a Kannadiga Brahmin or want to see a Brahmin way of living, this movie is decent watch.

The performances are top notch. Shashank Arora is an actor to watch out for. He is extremely good as Naman the sex crazy quizzer who objectifies women, is very selfish and thinks he is some hero but actually is coward. Its not easy to portray such a character. His partner in crime is Tamanay and they share a nice chemistry on screen. The rest of the cast does a nice job.

Overall, its a confusing film and watch it if you love sex comedies and quizzing.

This is the Indian version of the teen genre films like "American Pie". It tries too hard to be quirky by using very unique looking actors and odd camera angles. The script shows the results of 300 years of brainwashing by the British Raj. Although it does represent a new thrust by young film makers on the subcontinent, this really would have limited appeal to Indians, not wide global appeal.

A piece of crap...thats what Brahman Naman is. To make things clear i m not a Brahman so pls do not judge me. But i understand making a comedy on say any other religion wud be inviting trouble...so good old Hindus to the rescue again. The man (Q) is so damn scared that the one Muslim character he introduced (train girl) remained in a headscarf even though her hindu GF's immediately dived in to shorts!!! cumon man get some BALLS. Except for the fan sequence nothing tickled my funny bone. If i wanted to listen to Shakespeare i wud have seen a play or attended some book reading by naseeruddin shah. I guess "Q" wants to show us how smart he is by quoting Shakespeare. No buddy..."no comprendo" :).... films can be entertaining or educative OR both....alas brahman naman is only what most films are these days....CRAPPPPPP

Quaint films always hit the spot right, which has been the case with some of Q's previous films. However, this comedy drama is more of a stage performance that showcases the natural world's perversity from various angles, only to end up convoluted.

It's the 1980s, and Naman (Arora), a Brahmin teenager obsessed with a fervent desire for sex, and his gang of college friends are trying to secondarily win a national-level quiz competition while primarily trying to roll in the hay with any girl who they find attractive, strictly for virginity-losing purposes. A la Dil Chahta Hai (2001), he has a lady friend who is ever-ready to help him roll, but, you see, Naman also considers the face when it comes to coitus, especially regarding the fact that he has, till now, settled for his hand, fish, or some other ingenious contraptions for spilling the lead. While blurting out literature references involving the Bard and Joyce and rambling how Hamlet and other works could've been written by a migrant from Madras, the gang, now along with their college fresher friend, loiter around the college, cafe, and beer bars to ogle at girls and, mainly, at their habiliments, including the unmentionables, of course, occasionally guessing the color of that of the hottest girl in the campus. (Red, pink, or white?) It's like they are trying to find the meaning of life where in life's end-all, be-all conclusion is orgasm.

Over-smart is what the rest of the cast and some of the audience would call these young men, until a group of girls enter the scene as the gang travel to Calcutta for the next round of the quiz competition. Thankfully, the male gaze is not maintained as a topic for long here, because other than cleavages and skirt slips, you are also shown close-ups of the male organ both while it's flaccid and in action. But, is that enough to exonerate the film from being sexist? Not really, but the girl gang is smarter than Naman and his nerdy group while we are again exposed to the characters' literary expertise as they discuss relationships, cast, and other less interesting stuff. Naman and his gang eventually end up lying to each other about each other's sex escapades, and achieve pleasure by imbibing alcohol on a larger level.

The conclusion of the story is rather clumsily handed as Naman hopes to finally put his P in a V, but the process is muddled by his own insecurity or fear of losing his cherry. The narrative also brushes on the parents of these creatures as being silent helicopters trying to feed some wisdom into their arrogant minds. But, Naman, who does not mind masturbating inside his refrigerator where his next-day's food breathes, also does not care about anything other than sex and trying to hit it out with that enigmatic gal who wears mini-skirts and radiates seduction.

Basically, the film glorifies the desire for casual sex in the Hippies era, although never succumbing to anachronism. Q and Naman Ramachandran get brownie points for those fabulous dialogues and the Beatles-era slang references, but the narration is not entirely fathomable. The central characters' desire is understood, but what they really want is never explained. It maybe that the theme of the film wanted to strain on this idea - where teenagers think they want something, but when they finally get it, it looks grotesque and unappealing. Sex CAN be described that way, yes, and Brahman Naman flows with no holds barred. It does even cross the line of vulgarity quite a few times, but thank goodness, we have Netflix. The makers have done a few things wrong here, but they got one thing, among others, right: the way of life of teenagers 30 years ago and how sex always found a place in every young adult conversation.

Arora is fantastic, and most of the cast do an excellent job in doing what they were told to do. Surprised to see Sid Mallya here in a role that he may not be proud of. Writing is fine, except for the places where I thought it sampled inscrutability. With some clever use of art and popular culture, this film demands a one-time watch, at least, for there's some crazy sequences and ideas here that should be lauded for their explicitness.

BOTTOM LINE: Q's Brahman Naman is a 90-minute collection of sequences which will give you a feeling of cinema as compared to the feeling of pleasure when you are having "it" for the first time: it's not great, but it teaches you some things for your future kinky endeavors. Watchable on a free Netflix package.

Can be watched with a typical Indian family? NO

"Brahman Naman" is a coming-of-age comedy directed by Qaushiq Mukherjee, commonly known as Q. Released in 2016, the film presents a refreshing take on teenage angst, sexuality, and cultural identity set against the backdrop of a quizzing competition in 1980s India.

Plot and Execution:

The film follows the misadventures of Naman, a socially awkward, brilliant quizzing champion played by Shashank Arora, and his two friends, Ajay (Tanmay Dhanania) and Ramu (Chaitanya Varad). Together, they navigate the complexities of adolescence, raging hormones, and their quest to win the all-India quiz championship.

Strengths:

Humor and Satire:

"Brahman Naman" excels in its sharp wit and irreverent humor. Q's direction infuses the narrative with biting satire and comic situations, offering a humorous yet poignant exploration of teenage insecurities and desires.

Cultural Commentary:

The film provides a candid commentary on the societal norms and conservative attitudes prevalent in 1980s India, particularly concerning sex and relationships. It juxtaposes the characters' academic prowess with their awkwardness in social interactions, highlighting the clash between tradition and modernity.

Character Dynamics:

The chemistry among the central trio-Naman, Ajay, and Ramu-is palpable and drives much of the film's narrative charm. Their banter, camaraderie, and individual quirks add depth to their characters, making them relatable and endearing to the audience.

Period Aesthetics:

Q's attention to detail in recreating the 1980s era is commendable. The film captures the nostalgia of that time through its costumes, music, and cultural references, enhancing the authenticity of the setting and adding to the film's nostalgic appeal.

Weaknesses:

Pacing and Narrative Focus: While the film is rich in humor and character-driven moments, some viewers may find the pacing uneven, especially in the second half. Certain subplots could have been further developed to maintain narrative momentum and coherence.

Conclusion:

"Brahman Naman" is a delightful coming-of-age comedy that cleverly blends humor, satire, and cultural commentary. Qaushiq Mukherjee's direction, coupled with strong performances from the cast, delivers a film that not only entertains but also offers insightful reflections on youth, identity, and societal expectations.

The film's irreverent humor and sharp wit make it a standout in the genre of Indian indie cinema. It challenges conventions while celebrating the awkwardness and complexities of adolescence, ultimately resonating with audiences who appreciate its candid portrayal of teenage life in a rapidly changing society.

Overall, "Brahman Naman" is a must-watch for its unique storytelling, memorable characters, and its ability to capture the essence of youthful rebellion and self-discovery. It remains a testament to Q's distinctive filmmaking style and his knack for blending humor with social critique, making it a rewarding cinematic experience.