Stunning & daunting, Brahmastra dares to dream
Stunning & daunting, Brahmastra dares to dream
I have to confess I went into Ayan Mukerji’s dream project with considerable trepidation expecting to be let down. But I came away exhilarated, stunned and satiated. As I sat openmouthed and totally charmed by the sheer spectacle of the presentation (and mind you, this is just the 2D version I am talking about, I don’t watch 3D) I remembered all the misgivings that I had expressed to Karan Johar over the last few years: will it work, will it wean over an audience addicted to Marvel’s super-hero world…no matter how impressive the footfalls would it ever be able to earn back its staggering unprecedented investment?
The answer, I am happy to say, is an emphatic yes. This is a film that brings the glow of pride into Indian cinema. Did I ever think we were capable of achieving this level of technical finesse into our cinema? Very frankly, no. I never expected our superhero films would ever be able to crawl out of their infancy to compete with their American counterpart.
I am delighted to say Brahmastra; Part One Shiva proves me wrong. It brings the Marvel universe to our doorstep, suitably tailored to fit the current predisposition towards Hindu mythology, but also carrying a sense of ‘marvel’ous modern mischief in its solemn folds, as if to say, ‘Hey guys, this is serious business, but it’s okay to laugh and have film.’
If there is a glint of glowering ‘epicness’ in the presentation, there is also an ongoing feeling of festive fun, in the way Ranbir Kapoor and Alia Bhatt run into each other at a Durga Puja pandaal, and there is instant chemistry. This time I am willing to believe in love at first sight since the lead pair look so much love.
Ayan Mukerji lets his galactic imagination go into the deep end. But the spectacle never runs wild and amok. A bridled resplendence presides over the plot even when the narration cuts to the chase. There is a brilliantly shot chase sequence with Alia Bhatt dangling dangerously out of a speeding car while one of the three arch-villains tries to apprehend her. It is a glorious heart-in-the-mouth set piece rendered immensely enjoyable by the sense of casual immediacy the director injects to every frame.
Every frame is leaden with luscious images of acquisitive amplification. Since the credits boast of five notable cinematographers, I really don’t know whom to credit for the film’s visual suppleness. Watching Brahamstra is like being placed in a large cubicle from where the universe appears to be a grand illusion.
Ranbir plays an agni-astra, a la Stephen King’s Firestarter. He can start a fire at will (and we don’t mean that in the box office sense, not after what happened to his last film Shamshera) and fire can’t burn him. In his element(pun intended) Ranbir has a whole lot of fun with his part. There is a song and dance where he spins fire-poetry all over the frames. The sheer effervescence of the moment gets to us. Ranbir can be a very persuasive actor when he wants to be. Brahmastra proves it.
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