Film: Su From So (Kannada with English subtitles)

Cast: J. P. Thuminad, Shaneel Gautham, Raj Shetty

Directed by: J. P. Thuminad

Duration: 2 hours 15 minutes

Rating: * * * *

To put it in plain English, Su From So, the Kannada film playing with English subtitles, is one of the most refreshing films in recent time. Amidst the chaos and juvenile humor that characterise most Friday releases, this film, directed by J. P. Thuminad, arrives like a breath of fresh air.

Occasionally, a film emerges without any expectations and turns out to be a true gem. Su From So excels in every aspect - from its writing and direction to its performances, it 'possesses' all the right elements. Supported by actor/director/producer Raj Shetty, known for delivering one of the finest gangster films, Garuda Gamana Vrishabha Vahana (2021), this film will undoubtedly leave you smiling, with plenty of hearty laughs along the way.

Rather than being driven by a conventional plot, this film focuses more on its characters and episodic moments - and indeed, there is a diverse array of characters, all of whom are entirely believable. Director J. P. Thuminad also takes on the lead role of Ashoka, a young man who, due to certain circumstances, pretends to be possessed. Prior to this, we are introduced to the village of Marlur, which is in mourning following a death.

Among the villagers, there are several men portrayed by outstanding actors - that includes Ravi Anna (Shaneel Gautham), the burly bearded figure who commands authority - along with other villagers played by Prakash Thuminadu and Deepak Rai Panaje as Chandranna,(many will recognise the actor from Kantaara).

The issue at hand involves Ashoka, who is supposedly possessed by a spirit-specifically that of Sulochana from the nearby Someshwara village, who has taken over his body. To perform the exorcism, a questionable god man (portrayed by Raj B Shetty, who has a whale of a time playing the role) is called in from another village.

Additionally, there is a social commentary woven into the narrative through the introduction of the spirit's daughter, Bhanu (played by Sandhya Arakere), who is battling the patriarchy in the village while yearning to converse with her mother.

The film features some cleverly crafted scenes and dialogues, most of which appear credible. Like the village meeting that takes place to decide on committee and who will be a part of it. The essence of this film lies in its intricate details and authentic characters. The humour arises from witty lines rather than merely from chaotic situations, which is often the case in many films. An example of this is a conversation among the villagers regarding a missing scooter:

"Did the ghost take off with the scooter?"

"Yes."

"But does it have a license?"

"Ashoka does, but Sulochana (the ghost) does not."

"But I didn't hear any noise."

"Maybe she rode it in neutral gear, it is a spirit afterall!"

While it may or may not seem humorous in text, it certainly appears amusing in the film.

S. Chandrasekaran's cinematography is exceptional, particularly the lighting in the interior scenes. The film would not have the same impact without this talented ensemble of actors, who deliver outstanding performances in every scene.

Su From So brings back the old-world charm of comedy back to cinema.

Film: Dhadak 2

Cast: Siddhant Chaturvedi, Triptii Dimri, Zakir Hussain

Directed by: Shazia Iqbal

Duration: 2 hours 26 minutes

Rating: * * * 1 /2

"Uske paisa hain izzat hain, SUV hain aur apni hi caste ka hain to kyun na karu shaadi" (he has respect, wealth, an SUV and he is from our caste so why shouldn't I marry him), remarks the sister of the protagonist. The theme of caste is prominently featured in Dhadak 2, a remake of the Tamil film Pariyerum Perumal (2018) directed by Mari Selvaraj. This film serves as a spiritual sequel to Dhadak (2018), which itself was a remake of Sairat (2016).

Directed by Shazia Iqbal, who gained recognition for her impactful short film Bebaak (2019) that addressed social issues, it is commendable to witness a newcomer directing her first feature for a major production company. It has some of the pitfalls of a mainstream production but it effectively underscores the issues of caste and identity, delivering its message with clarity.

Iqbal's film retains the core essence of the original while skilfully crafting scenes that resonate effectively-well, most of the scenes, at least. The film does carry a slight hangover of Sairat, but any commercial film addressing caste issues is likely to draw parallels with Nagraj Manjule's groundbreaking work. Furthermore, considering the age old atrocities related to caste, the significance of caste identity and division cannot be overstated.

The film begins with a quote from Thomas Jefferson: "When injustice becomes law, resistance becomes duty." We are introduced to Neelesh (Siddhant Chaturvedi) in an unnamed city (which resembles Bhopal), where he resides in Bhim Nagar. He is often reluctant to disclose his surname or the neighborhood he lives in, as it reveals his social identity. When he gets admission to study law, his principal (Zakir Hussain) advises him to concentrate on his studies and avoid politics and activism. However, a senior student informs him, tells him "politics to us din se shuru hui jis din tum paida hue" (Politics began for us the day we were born).

His classmate is Vidhi Bhardwaj (Triptii Dimri), who, in contrast to Neelesh, has no qualms about saying her name loudly. The contrast is there to see when the students introduce themselves in the classroom. She is conscious of her position - at one moment, while assisting him, she remarks, "Meri privilege ka kuch to fayda ho" (let me take some advantage of my privilege).

What ensues is predictable yet engaging. The narrative elicits sympathy for Neelesh's character, and there is an added complexity regarding his father (Vipin Sharma), who is grappling with his own challenges. Discussions arise concerning reservations and 'affirmative action'. "Jahan bhi jaun sab kehte hain tumhare jagah nahi hain" (No matter where I go, I am told this is not your place to be), Neelesh expresses, enduring constant humiliation.

Although the subject matter is of great importance, effectively depicting it on screen poses a challenge. While it succeeds in many respects, there are instances where a more succinct approach might have been beneficial. For example, in the scene where a bucket filled with filth is hurled at him, there are nearly 12-15 slow-motion cuts - it is clear that this represents an inhumane humiliation, and a shorter depiction would have had a more powerful effect. Another scene, where he is brutally beaten and shamed at a wedding, leaves a lasting impression.

Vidhi's character gets an upgrade from the Tamil film. Unlike the other women in her family, she is not molded by patriarchal norms and expresses her thoughts freely. She also tells Neelesh about "Mardon wali bimari," referring to toxic masculinity. Her father (Harish Khanna), who raises her in the absence of a mother, is also a compelling character. He is not malevolent like some other men, but he remains silent and does not take a stand either - thus completing the spectrum of characters that we observe in real life.

Siddhant Chaturvedi and Triptii Dimri have put up an impressive show - there is a gamut of emotions they have to portray and they do it well. The film stands as an indictment - life pretends to move on, but injustice remains exactly where we left it.

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