ഭാമകലപം | Director: Abhimanyu is fat
Cast: Priyamani, Saranya Pradeep, Shanthi Rao, John Vijay
Length: 2h 14m | Language: Telugu | Rating: 4
Anupama (a dazzling Priyamani) and Shilpa (a perfectly natural Saranya Pradeep) reside in the riot of Abhimanyu Thadimetti. Technically, Anupama is in a position of power as a housewife. Shilpa is a housemaid who works in several houses in the apartment complex. But look at them together, this is not a relationship forged by need, there is true love. Well dressed Anupama likes a good gossip, but not only that she calls Shilpa for a 10 minute tea break. She loves to spend time with him. Shilpa is a person who can escape by calling Anupama’s names, doubting her intentions and her lack of willpower when she wants to be a busy person.
It takes time for the film to reach Anupama and the lives of those in the apartment complex, but you do not care, because you know that you are preparing for something, it is important to focus.
This rooted writing is one of the reasons why the Ahaya riots took place. Everyone who casts their eyes upon it, wants a go. The director outlines the community very well and the camera stays on even the problematic door locks, when a character has to escape, you know which ladder to climb, which door to open, no. This is what you need to pay attention to.
It’s important in a thriller with a dark comedy and a kind of family drama. Fear and excitement come not only from what happens on the screen, but also from the fact that you already know these people, predict what they will do, and predict what they will not be able to escape. Only at the time of disclosure does it prove ineffective.
Happily, for a thriller, the riot (2 hours and 12 minutes) breathes well. Though the movie throws things and events at you, you have invested, because, back story. Even Pallavi, a pregnant detective (Shanti Rao is a gentleman), gets lines about Anupama’s character and the YouTube channel related to her pregnancy, and gets human moments with Joseph as she goes to work. Case. Therefore, riot is easily opposed to slotting.
The story of the riot can be summed up in one sentence – a stolen Faberge egg worth Rs 200 crore went missing and a man was found dead in an apartment complex where a popular YouTuber and a busy man lived. But it is to the credit of debutant director Abhimanyu that the kernel of the film is not important after a while. You invest more in what happens to the people in that story. This is a picture he can be proud of.
This is a film that does full justice to Priyamani’s stunning screen presence – she’s a confident YouTuber and extremely eager and busy. She has eyes all over her head, and even as she confidently speaks on camera as part of the cookery show, she can be seen walking upstairs to dry the homemade frame. She can’t keep her nose stuck in everything around her.
Plus, the supporting cast packs the punch perfectly. John Vijay, despite the exaggerated character of the character Nair, hates Anupama’s conversational skills. This is not the first murder that Anupama has seen for a sculptor with excellent comic timing. You also have a suspicion – when Anupama first panics, she immediately turns into a pro, hides her body in a suitcase and tells Shilpa exactly what to cook to make sure the sniper dog is thrown from the guard… Is this the first murder, then?
Pallavi tries to add distant parts to what feels like a crime to her, tapping into her memory to gather facts. Shanti Rao’s body language is pitch perfect and she urges you to invest in a cop who becomes a pregnant woman. Kishore Kumar Polymera is as effective as Pastor Daniel, who seeks a clue from God when compared to everything else since childhood.
The film, in its climax monologue – the weakest link – questions what God is and what is good and bad. But the film also touches on the over-reliance on religion and what it leads to. There is a little more talk about the stray lamb and the egg that gives salvation, but since you already showed it in the movie, the talk is flat.
The riot also tells how Cyrus seeks refuge in Kusuma’s house in an apartment complex without saying a word. In the difficult times we live in, that relationship seems to be more precious than it really is.
The window is Anupama’s ticket to world events. After lying on the window sill on a rainy night and seeing a lot of deaths, she decides to shut herself out of what is happening outside. She may have reluctantly adapted to it, but you realize that Anupama’s life is no longer the same. Also, in the case of Cyrus or Shilpa when she talks about her life, she is said to be someone who could not be subjected to domestic violence and raise her hand over her partner. So, when Anupama is beaten by her husband and she gently accepts it, it stumbles. Until then, you think she is part of an almost equal marriage.
Dear Comrade director Bharat Kamma’s leading romance, good production values and creative choices (cinematography by Deepak Yeragera, editing by Revolution Nishad, music by Mark K. Robin, songs by Justin Prabhakaran) make a beautiful OTT watch. Go for it.