Bougainvillea

I normally enjoy watching Amal Neerad's movies, even his Varathan, which despite being a copy of Straw Dogs, was eminently watchable. So I sat down to watch Bougainvillea with great expectations, but it turned out to be a massive letdown!

Amal is famous for his stylised movies, and thats what catches your eye in the beginning... and then as time passes, you realise that this movie is all style and no content!

Despite being a movie with 2.5 hours of run-time, Amal spends a lot of time laying the foundation of a mystery, introducing the characters, so much so that the movie drags on and on before he seems to realise that the time is almost up and he needs to wind up.

Amal and Fahad's ACP don't do any proper investigations, there are no clues to be found, no suspicious characters lurking about, no background check about anyone, no nothing.

Deeply saddened to see Fahad being wasted in an extended cameo playing the role of an ACP investigating the crime. Since Fahad is here, his role could have been built into a full-fledged meaty role - of an ACP who finally cracks the mystery. But Amal fails here too. Fahad's ACP does not detect anything... Amal's story and screenplay fails in this regard too.

Then who solves the actual mystery? Well, nobody! And maybe thats why the villain decides to come out and disclose the mystery himself - he must have got tired waiting for the police to catch him?

Amal too probably realised that the mystery has to be resolved, and we all need to go home, right? And he winds up in an almighty hurry!

Similar was the case with Sharfuddeen, another talent wasted as a taxi driver (!), with practically no dialogues to speak!

My rating is 4 stars out of 10. A movie with great expectations that tanked!

The story was lacking in all regards. Unless an original plot is present for an investigation thriller movie, directors should stay away scripts. I can name 10 movies with the usual plot from the back of my head quite easily. I assure you 80 per cent of the audience who have not even watched the movie knows who the killer is or has doubts about that particular character being the killer.

Talking about the unnecessary scenes and slow motions , they degrade the movie in a whole new level. Unnecessary characters are being added. Actors who have great talent are left with roles which are not demanding enough.

People usually want to see talented actors given enough space to perform. Fahad Fazil's role in this movie can be done by any actor. Even if his character is absent throughout the movie, the story will move on.

Moving on to the music, apart from the first song, even the BGM is bad.

Talking about the cinematography. The usual style nothing special. Don't get why people are trying to hype up the movie when there is nothing good to it.

If you are trying to show a woman empowered movie, make it so that the main women characters have depth in it. Adding cheesy lines like "This is all it takes sister" doesn't do any good.

Bougainvillea is a beautifully crafted film that captures the subtleties of human emotions with finesse. The story revolves around complex relationships, personal growth, and the challenges people face in their everyday lives. Each character is thoughtfully portrayed, making it easy for viewers to empathize with their struggles and triumphs.

The cinematography is one of the film's strongest aspects, with vibrant visuals and carefully framed scenes that enhance the storytelling. The soundtrack complements the narrative, adding depth and emotion without being intrusive. The pacing is smooth, allowing the story to unfold naturally while keeping the audience engaged from start to finish.

While the film occasionally leans on familiar tropes, it delivers them with sincerity and nuance, which sets it apart from many typical dramas. The performances are consistent and compelling, bringing authenticity to the narrative.

Overall, Bougainvillea is a memorable cinematic experience that blends visual beauty with emotional storytelling. It is a film that resonates with viewers who appreciate character-driven narratives and thoughtful drama. With a rating of 7, it stands out as a solid and enjoyable watch.

When Amal Neerad announced a new movie with Fahadh Faasil, I was excited to see what they'd have in store for us. Their combination in Iyobinte Pusthakam and Varathan produced some cinematic fireworks. This time they teamed up in a new psychological thriller Bougainvillea. Bougainvillea is thriller involving David Koshy, played by Fahadh Faasil, who is sets out to investigate missing girls and women from a town in Kerala where Reethu, played by Jyothirmayi, and her husband Dr. Royce Thomas, played by Kunchacko Boban live. Reethu and Royce meet with a car accident 8 years ago and as a result Reethu loses her memory. How is she related to the missing girls and why is David Koshy investigating Reethu despite her memory loss forms the rest of the story.

In typical Amal Neerad style, the movie is packed with technical brilliance. Be it the screenplay, cinematography, editing or sound. Amal leaves us enough breadcrumbs throughout the plot for us to guess what might be going on and we will be able to. As this is a psychological thriller and not a suspense thriller. The thrill comes from the "howdunnit?" instead of the "whodunnit?" aspect. I must say that Amal was successful in generating that interest till the climax.

This story is based on a novel called "Ruthinte Lokam" (Ruth's World) written by Lijo Jose, who co-wrote this movie with Amal Neerad. Jyothirmayi delivers a solid performance as ailing Reethu who is struggling to make sense of the happenings around her. So was Kunchacko Boban as Royce Thomas who stands support to her wife. Fahadh Faasil delivers an ok performance in a character that had barely any scope to perform.

While the movie keeps you engaging, it needed a better act 3 and climax to deliver that thrill. But unfortunately, this ended up being an average and unsatisfying watch.

The film Bougainvillea, directed by Amal Neerad, can be classified as a cinematic work belonging to the crime thriller action drama genres.

The narrative is focused on the family of Reethu and Dr. Royce, with Reethu, a character afflicted with retrograde amnesia, experiencing frequent memory loss. She also encounters hallucinations and other psychological disturbances. Her husband is depicted as providing her with excellent care, and she has a domestic servant named Rema who assists her. Reethu creates a world of her own through her possessions and engages in painting Bougainvillea flowers regularly. She also had two children, who appeared in her hallucinations. The film then transitions to a police officer named David Koshy, who arrives to investigate the disappearance of a young girl. During the time of disappearance, Reethu was present there, and the police questioned her on several occasions. She exhibited some unclear memories regarding the girl, but she was uncertain. The police suspected that Reethu might have connections with the disappearance. Royce's persistent efforts to extricate her from this predicament are noteworthy. As the film reaches its culmination, a significant twist emerges: Royce is revealed to be the perpetrator of the girl's abduction and subsequent murder. This revelation is further compounded by the fact that Royce had previously kidnapped several other girls. He manipulates Reethu's forgetfulness as a strategic advantage, creating a facade of reality that obscures her true surroundings. As Reethu's memory gradually returns, she comes to understand the full extent of Royce's transgressions. In the culminating act, a confrontation ensues between Reethu, Rema and a criminologist, ultimately leading to the vanquishing of Royce.

The narrative was of mediocre quality, exhibiting significant pacing issues, which rendered it challenging to establish a connection with the preceding narrative. In the culminating scenes, a women's empowerment programme appeared to be manipulated, seemingly unnecessarily. The performances were commendable, though not universally so. The inclusion of Fahad Fazil and Sharfuddin in their respective roles appeared superfluous, as their absence would not have significantly impacted the narrative. The direction was consistent with Amal Neerad's typical style, and the musical scores were noteworthy. In conclusion, this film stands as a notable example of Amal Neerad's directorial style, though it is perhaps his least successful work. It is recommended for one time watching, albeit with the caveat that it is not his most essential cinematic work.