Grand narration in a contemporary Indian context
Thiruvananthapuram, First Published Apr 28, 2022, 2:33 PM IST
Many of the films that have gained prominence in mainstream Malayalam cinema in the past and rely heavily on the dialogues of the central characters to express their stance are politically motivated. But it is rare in recent times that films have shifted from dialogue to visuals to films that speak directly to politics. As the name suggests, Jana Gana Mana is an attempt by director Dijo Jose Antony to reflect the contemporary situation of the country in his own way.
The film first came to the attention of the audience through a teaser released a year ago. The line-up pointed out that there were some surprise elements in waiting through the promotional materials of the film, which later came out, including a trailer that was more than four minutes long. Jana Gana Mana is the on-screen visual experience of what is being sung. Prithviraj’s character is a lawyer named Arvind Swaminathan. Suraj Venjaramoodu will play the role of Sajan Kumar, the Commissioner of Police with equal importance and more screen time. The film opens with the impression that it is a story with many scrolls and collections to come. The film begins with a few flashbacks that are not immediately apparent, and initially unfolds as a murder investigation. Students take to the streets in search of justice as the slain is a college teacher who was very dear to the students. The director makes it clear that what he has to say is not just a story but deeper political issues and questions. Beginning with the first plot, The Murder of a Teacher, a student’s favorite, the film delves into electoral politics, focusing on the challenges that students face, including caste discrimination, to a central university and the deeply ingrained racial and religious prejudices outside society.
Contemporary India full of news media fills the plots and sub-plots of Jana Gana Mana. But the 2.43-hour-long film, which was supposed to be a documentary fiction, has been turned into a thrilling experience by the excellent screenplay by Sharis Mohammed and the vision by Dijo Jose Antony. Sharis writes in such a way that many subplots and layers are neatly arranged so that the audience has no difficulty connecting. The author manages to capture the essence of the film through a series of emotional endings.
Dijo Jose Antony is the director who got a surprise hit with his debut film Queen which was released in 2018. Four years later, Dijo’s growth as a director is astounding when it comes to his second film. He has worked hard to bring a grand narration to the screen without the worries of a director making a second film. The visual experience of the Jana Gana Mana is that that effort was successful. Technical excellence is another factor to note. The camera of the film is handled by Sudeep Ilaman, a notable young cinematographer. Though the main setting of the film is Karnataka, the film was shot in various locations including Kerala, Lucknow and Malaysia. But Sudeep’s camera never interferes with the continuity of the view. He has given a distinct personality to the film which is presented on a grand scale. The film also has some of the best editing seen in a recent Malayalam film. The editor’s role is not small in turning a two – and – a – half hour long, serious subject-speaking film into an enjoyable experience with many collections and sub – plots.
Arvind Swaminathan’s lawyer about Prithviraj is not a character in his comfort zone. Prithviraj has not played another heavyweight character in recent times. Prithviraj’s ability to connect the character with the audience is not just a beautification, but also a small but very visible feature given in the appearance. But Suraj’s commissioner Sajin Kumar is a more complex character. As usual, Suraj has made a character with a gray shade that is definitely unattainable whether it is leadership or villainy. The film also stars Mamta Mohandas, Shammi Thilakan, GM Sunder, Vince Aloysius and Dhanya Ananya in the lead roles.
The film has a pan-Indian character in the theme of Malayalam cinema. And in the language spoken by the characters. Along with Malayalam, Kannada and Tamil dialogues come in without subtitles and at the same time without disturbing the viewing experience. Before its release, Jana Gana Mana was a film in which the cast did not reveal much about the plot or what kind of film it was. The viewing experience of the film will tell you why. The film ends by introducing a plot for the second part. Perhaps that decision was based on the acceptance of the first part. Jana Gana Mana is a film that moves towards that group with its content and presentation in the recent Malayalam cinema where different efforts are being made. And a film that requires a theatrical view.
Last Updated Apr 28, 2022, 2:44 PM IST
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