Gaami

On paper, the story of "Gaami" is impressive but when translated on to the screen, the impact is not the same. The newbie director, Vidyadhar does not allow his lead character, Shankar to connect with the audience. Never does the audience feel sympathy towards him or else feel sorry for him. By making his lead character a brooding and introvert, director does not allow the character to grow on the audience. Even with his sympathetic friends, Shankar behaves in a closed manner. There is no urge from Shankar to find a cure to his condition. He is forced to take the journey to Himalayas after he is thrown out of the Ashram. He does not own the journey and at all points of time, he tries to put a pause to his journey. With this handicap in the character graph, Director relied too much on the final twist in story to give an emotional high to the audience but by that time the final plot is revealed the audience is jaded and tired of watching the same scenes in a loop. The entire purpose of Shankar's journey is not understood. Also not understood is the existence of Jahnavi's character in the screenplay. She does not add any value to the proceedings. It is the track of the child Uma and her bonding with her mother which really gets the audience hooked to the story. I just wish the director thought of one scene where Shankar opens his heart and speaks with Jahnavi thereby connecting him to the audience. There are too many liberties taken by the director to take the story forward. He creates an impossible situation for the characters but does not show the way on how they overcome the situation. He does not allow the characters to make a bond with the audience with their tenacity and resolve when faced with adversity. That is where Gaami loses its plot.

The movie has good intentions. It starts out to be a story about Shankar, an agora (played by a dozing Vishwa k Sen), going on a journey, seeking a cure for his condition which prevents him from experiencing human touch. He starts to get visions of a boy stuck in a depraved research facility that experiments with mind control through lobotomy; a woman, devadasi, being sexually exploited for money by some crooked temple chief; and a little girl who winds up to be the daughter of the devadasi. Those three storylines converge in a weird and bonkers twist.

One of the fatal flaws of this film is the headache-inducing pacing, and the bland, uninteresting characters. See, I love films as art, but films pretending to be art is not what I like. The pacing is all over the place, and the music blaring in every scene. It didn't sit well. But the cardinal sin is, I couldn't even care a least bit about the characters' journeys, because I couldn't even relate to them. I don't know them. I don't know where they come from, where they want to go, what they feel about things in their past. Things just happen and it all unfolds randomly. It's as if the writers ticked all the story beats, but failed to inject character life that defines them. It's plain bad writing.

It could've been forgiven if Shankar had a least bit of character arc. Nothing, he has nothing. Oh, wait, he has. His journey is to realize a lame twist of his life. Otherwise, he's just a blank slate who moves forward with the plot, when some random doctor chick (played competently by Chandni) joins this journey randomly, out for some research purpose, which turns out to be for her 3 year old daughter, and I couldn't understand. Vague as hell. Together, they go on a death-defying journey without any safety. No gloves in the snow, zero basic hiking equipment and safety, and random death defying falls which should kill you in an instant. And after the nonsensical hike, they reach some mushroom mountain. And then after some random scenes, Shankar gets a big revelation. His memory. That the parallel running storylines of a boy in research facility, and the daughter of the devadasi, are all connected to him. In what way, I won't tell you. See the kalakand om for yourself. One of the lamest twists I have in a while is this one. A twist with no substance, excitement, nor any credible thematic relevance.

There were glimpses of something interesting. Like the red herring of Shankar being the father of the little girl of the Devadasi. The possibility of him being the husband of that devadasi was really interesting. That was a potential character backstory I could've latched on to, but no. It's disposed of, all for a lame twist.

It's as if Donald Kaufman worked on a draft of this and called it day. All these Donald Kaufman twists in these wannabe cerebral movies are driving me crazy. I don't want to see another gimmick anymore. Just give me a visceral story, with a good backstory, motives and conflict.

And that's it. Technically, it's all right. The production design was top-notch, and the camerawork was really good. I could feel the frames illuminating with vibrancy, especially for an Indian film. But, I mean, compared to the norm of world-cinema, this is just another husk. The score was competent but overbearing throughout. There were no real moments where I could actually register what I was listening to, because it just felt like some regular epic-movie soundtrack you listen to on YouTube. Other than the teaser horn hook, the soundtrack felt like a blur. It's because the movie felt like a blur. Just like the titular Shankar not remembering his past, I don't think I'll remember this movie. Probably, only if a lame twist hits me on the mind after some mushrooms, and I remember this movie. After that, I'll probably die out of hyphae-boredom-phobia instead.

"Gaami" breaks free from Telugu cinema cliches, offering a profound and humane journey of self-discovery. Unlike most mainstream films that rely on sensationalism, director Vidhyadhar Kagita crafts a beautiful and artistic experience. So it's simple, if you're craving a racy plot, a formulaic hero worshipping, high moments, or some message at the end, "Gaami" isn't your movie. This debut film is a cinematic novel, exploring the relentless struggle (Sisyphean persistence) and emotional extremes of its main characters at the expense of flawed writing which isn't a big letdown. Every element, from editing, VFX, Art direction to Sound design manages to hold the film's atmosphere. Even the interval sequence challenges expectations. Unlike typical Telugu films that rely on a big bang or goosebumps, Gaami offers something different but not ordinary with just one day left to find the rare Mali Patra flower, the only solution as it breaks for interval. Many viewers remained glued to their seats, maybe they were expecting a goosepimple moment or intermission text. Of course, there's nothing wrong with crowd-pleasing interval bang and high moments, but Gaami proves we don't need the same formula every time. It's a shame that majority of audiences are accustomed to the fast pace of short videos, expect every movie to be like a 30-second Instagram or TikTok clip.

Even the finale perfectly exemplifies the films theme and pacing, Shankar's (Vishwak Sen) journey comes full circle in a satisfying way, without unnecessary exaggeration or resorting to theatrics. The ending is quiet, with a moment of silence and no music, followed by a bittersweet score as Shankar discovers the human touch, cure, healing, and redemption.

And now Gaami isn't flawless, the screenplay, while managing to be intriguing, could have benefited from tighter focus on parallel storylines compared to the impressive visuals. Editing choices feel jarring at times to cover up the budget, and some scenes might feel repetitive. The gore, though present, might not satisfy fans of horror and gorehound genre like me considering the film's A certification. But i feel the mainstream viewer might find even the existing gore unsettling. The attempt at a non-linear, anthology style narrative might feel like it overreaches and tests the audience's patience.

However, I have to admit some bias and give brownie points. The sheer effort and passion poured into this project, culminating in its release, deserves some credit. The film will likely draw comparisons to world movies, but showcasing its influences the film manages to stay true and rooted. It's important to note that Gaami leaves some questions unanswered, which might frustrate some viewers seeking complete melodramatic closure. While the film isn't flawless, its technical achievements and artistic merit are so strong that many of its shortcomings can be forgiven.

In summary, This DIY project later backed by UV creation is truly special for Telugu cinema. The film's unhurried pace, akin to a slow burn, might test majority of Telugu cine-goers and mass audience patience. It might not be for everyone but for those who appreciate artistic endeavors and support such daring attempt, this is a must-watch. Gaami is the kind of movie that passionate cinephiles must support and spread the word!

Gaami is a man's journey to seek how it feels to get the physical touch of his own people and his adventures to get rid of the problem he has and feel the contact.

Positives:

1. The incredible hardwork of the Dir. Vidyadhar is clearly seen in each frame he directed with limited resources he had.

2. The Classic Shankar Mahadevan vocals playing in the background when Shankar is in full mood to achieve the maalipatra for leaves behind the mark in the movie.

3. The 3 characters speak a lot even though all of them get limited screen time.

Negatives:

1. Some loopholes 2. The plot twists were something that would easily get predicted if you are fond of the particular genre of the film (hollywood) but this was the very one of a kind in TFI which is the only thing matters.

3. The screenplay was good but it would be great to see if it was rushly paced in the 2nd half too feel the damn tense environment.

At the end it is a film every Cinephile must watch.

The story is laced with intriguing elements, and while there might be a handful of moments that don't fully hit the mark, the overall narrative is quite engaging. The screenplay demands your undivided attention and a keen mind to fully appreciate its depth, adding a layer of sophistication to the viewing experience. There are moments where the pace might seem leisurely, but these are more than made up for by the sheer visual spectacle on display. The film features breathtaking visuals, from exotic locales to state-of-the-art VFX, complemented by exceptional cinematography and impeccable color grading. The background music enhances the atmosphere significantly, and while the songs are decent, the outstanding sound quality elevates the auditory experience.

Vishwak Sen's dedication shines through in his performance; although it might not fully meet the demands of the role, his effort is commendable. The rest of the cast delivers with commendable zeal, contributing to a well-rounded ensemble. For those considering watching this film, it's best experienced in a theater that does justice to its superior sound and visual quality, ensuring the fullest appreciation of its technical excellence.