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Blues before sunrise
?Fusing fact and fiction
FILM REVIEW SACHIN CHATTE

Film: Sinners

Cast: Michael B Jordan, Miles Caton, Hailee Steinfeld

Directed by: Ryan Coogler

Duration: 2 hours 17 minutes

Rating: * * * 1 / 2

Since his acclaimed debut film, Fruitvale Station (2013), and the subsequent Black Panther installments, Ryan Coogler has adeptly transitioned from independent cinema to high-budget productions, establishing himself as a director of significant interest. In an era where quality standalone films are increasingly scarce in Hollywood, overshadowed by a flood of sequels and superhero narratives, it is refreshing to encounter a film like Sinners, which reflects a writer/director's desire to convey a story rather than conform to studio demands.

Sinners is a supernatural vampire thriller that offers an engaging experience, enriched by its socio-political and cultural themes, leaving viewers with a sense of deeper significance, even as I continue to unravel its full meaning.

Set in 1932 in the Mississippi Delta, during the height of Jim Crow laws and the active presence of the Ku Klux Klan, the film, while rooted in the supernatural, places significant emphasis on music. It begins by highlighting music's power across various cultures, particularly its "ability to pierce the veil between life and death."

In the film's opening scene, we witness a gravely injured young Black man, Sammie (portrayed by debutant Miles Caton), entering a church congregation with a broken guitar in hand. His father, a pastor, had cautioned him about the dangers of music and the potential for the devil to follow him home.

Through a series of flashbacks accompanied by captivating blues music, we gain insight into Sammie's relationship with his cousins, Smoke and Stack,(both played by Michael B. Jordan). These twin brothers are notorious in their community and have a reputation for being ruthless and violent. They invest in a property owned by a white man, intending to transform it into an entertainment venue featuring music, dancing, gambling, and more.

The opening night starts off well but then things go awry when a trio of two white men and a lady show up. It is time then to make wooden stakes, bring out the garlic and eventually, wait for the sun to rise.

The vampires are not just blood thirsty they also have a deal to make to cross over to the other side. Music serves as a unifying element between the humans and the vampires. Ludwig Göransson who also serves as an executive producer on the film has composed the music, which is from the top draw.

Supporting characters, including Hailee Steinfeld as a former love interest of the twins and Delroy Lindo as a delta blues musician, find themselves entangled in the events of that pivotal night. The post-credit scene, which depicts the downfall of Klan members, highlights the unresolved wounds in America. The current political climate there undoubtedly provides more fodder for such narratives.

Film: Kesari 2: The Untold Story of Jallianwala Bagh

Cast: Akshay Kumar, R. Madhavan, Ananya Pandey

Directed by: Karan Singh Tyagi

Duration: 2 hours 15 minutes

Rating: * * 1 / 2

Barring the title and the fact that both films are about patriotism, Kesari 2 has no connection with its predecessor. Directed by Karan Singh Tyagi, this film, titled The Untold Story of Jallianwala Bagh, is indeed a patriotic narrative; however, its central storyline, which revolves around a courtroom drama, is fictional. The inspiration for this film comes from the book 'The Case That Shook the Empire' by Raghu Palat, who is the great-grandson of Sir Sankaran Nair. Nair, a prominent lawyer and freedom fighter of his era, serves as the film's main character.

It is important to clarify the historical context before delving into the fictional elements, from our school history lessons we know that in April 1919, General Reginald Dyer opened fire on a gathering of men, women, and children at Jallianwala Bagh in Amritsar, leading to the deaths of thousands of innocent individuals. Dyer passed away in 1927 without facing justice for his actions. In 1940, Michael O'Dwyer, the then Lieutenant Governor of Punjab, was assassinated by Udham Singh in London. In 1922, O'Dwyer initiated a defamation lawsuit against Sankaran Nair concerning his book Gandhi and Anarchy. Although the case was related to the massacre, General Dyer did not appear in court; the film though suggests that Nair had sued the British crown, with Dyer being involved in the proceedings.

The film wastes no time in cutting to the chase and at 135 minutes, it is crisply edited. The opening scene shows a gathering at Jallianwala Bagh protesting against the Rowlatt Act, followed shortly by General Dyer (played by Simon Paisley Day) ordering his troops to fire on the crowd. A dramatic element is introduced when a teenage boy becomes separated from his mother and younger sister who are caught in the melee.

We are then introduced to Sankaran Nair (Akshay Kumar) a bright legal mind who fights cases on behalf of the Empire - it is a matter of time before he has a change of heart. Ananya Pandey plays Dilreet Gill, an budding lawyer who initiates a fight against the British government in court, before Nair joins her and takes centre stage. "Court mein sahi galat ka nahi, haar jeet ka faisla hota hain" (the courts don't decide right or wrong, they decide the winner and the loser), Nair asserts, more than once.

To be fair, the courtroom drama is predictable but engaging. The Crown ropes in Adv. Neville McKinley (R.Madhavan), to take on Nair and their fiery exchanges are entertaining. The narrative arc unfolds as expected- when the protagonist is on the verge of losing the court battle, the judge says "court aapko do din ka waqt deti hain" (the court gives you two days) to find the evidence. We also gain insight into Dyer's transformation into a cruel figure, attributed to his experiences of being bullied by Indian children during his school years, though I am not sure of the accuracy of this backstory.

As the courtroom drama is fictional, the writers had considerable creative freedom to enhance the tension. It also has some rousing dialogues to add value to some of the scenes. It must also be mentioned here that never before have I seen so many F-bombs being dropped in a Hindi film. At this rate, Samuel Jackson might have competition soon.

On the downside, the unnecessary wailing in the background score during a sad scene is rather jarring - Hindi films still haven't quite discovered the magic of silence on screen.

Ananya Pandey has to play second fiddle in most parts and she fares well. R. Madhavan clearly seems to relish the role of the antagonist. The British actors like Simon Paisley Day who plays Dyer, are slightly handicapped with the Hindi that they have to speak. In the spate of films in recent times, this performance by Akshay Kumar is a notch above his other roles.

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