Now Premiering - Umamaheshwara Ugraroopasya
Umamaheshwara Ugraroopasya – A sweet folklore of revenge dealt with a deft touch by the chronicle direction.
Venkatesh Maha, the man who made a debut of which the TFI could be proud of, with just a meagre 44-70 lakh ( it’s INR, not USD), a standard sync sound equipment, 2k camera and a bunch of new or it would be better to call real faces. It’s a film where the aesthetics were more costly than the actors in it. The director has already proved that his understanding of the rural world and life is rock solid with his debut film C/o Kancherapalem(Go! google it, it’s ok). His philosophies are deep with execution dry and light, this balance may have made his debut one of the best slice of life movies in recent times and him as one of the best persons to understand the backdrop he operates in recent times.
MaheshintePrathikaram, the Malayalam movie on which this is based on, gets fine treatment with a deft touch by our beloved director. UMUR might have been an ODI series for Indian Cricket team at home for Maha when Syam Pushkaran’s story got handed over for a remake. Because, this is again a film, which can be said as a Malayalam counterpart for C/o Kancherapalem, in terms of...... ok I’ll leave that to you to discover. UMUR aces in its execution in becoming sweet folklore of revenge strong in its understanding maybe because of its chronicle director. The world design and performances are so convincing and rooted (thanks to excellent casting) that they make the movie enjoyable and a lockdown hassle escape route (Cinematographer Appu Prabhakar and Music Dir. Bijibal deserve mention).
The cloudy, hilly Araku village with wide stretches of greens, mountains, the smell of mud and pelts ( you’ll literally feel them sometimes) and amidst that our personas who are innocently bold, toughly soft, maturely childish and having many more such weird combinations of oxymoron traits. The protagonist is ambassador among them. And, yes, you have people who aren’t that oxymoron in the description too, but even those people are rooted, never caricaturized.
The writing in itself can be said to be an oxymoron – say an Artsy Commercial film, there’s an underdog protagonist, a love-romance-breakup theme, a revenge theme, a comedy track etc. These elements are quite frequent in the commercial flicks while artsy tag comes because of the novelish characterisations and sweetest of emotions being etched out most easily. In short skeletal technique is commercial but the emotion is artsy.
The plot’s always simple, philosophies deep and execution light, this similarities in ideologies might be because of the way basic storyline of revenge got transformed into a story, a feel-good tale, rather than an overburdened, bloated and elevated mishap. We do have our examples of such movies like Bheemili Kabaddi Jattu or Pilla Jamindar, but it’s a technique/emotion we would love to be adopted more here up North like Malayam Films.
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