In 2003, when Rakesh Roshan’s met someone Hitting the screens, it was predicted that the Hindi film industry would eventually have more fantasy dramas that India—the land of the greatest fantasy epics—actually deserves. when it was followed krrish In 2006, the future only looked brighter.
frequent failures such as Ra. One (2011) and Drona (2020) Woke India up from this dream and put brakes on the realm of fantasy in Bollywood. Brahmastra has proved that it has the power to revive this dream.
Brahmastra: Part One – Shiva, The orphan centers around Shiva (Ranbir Kapoor), who cannot be harmed by fire. He later learns that he is a ‘Agnistra‘one of many’weapon‘ in a world guarded by a centuries-old cult. Isha (Alia Bhatt), is the one who triggers the hidden power inside her.
The film is a must-see for an industry that is gloomy after constant box office failures and also heralds the beginning of an imaginary future.
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world class visual effects
Internet trolls were having a field day when the teasers of Brahmastra were released. Parallels were drawn with the Marvel Cinematic Universe. ,Astraverse‘ was compared to infinity stones and Mouni Roy was termed as a cheaper version of Scarlet Witch.
rest assured, brahmastraeither Astraverse, Absolutely nothing in common with Marvel. Mukherjee neither tries to imitate the treatment of the films, nor does he try to imitate any Marvel superhero trope or any lore of the western world.
The concept of the film is firmly rooted in Indian mythology, culture and traditions. Picking up elements from our vibrant past, Mukherjee delivers a story that is familiar as well as fresh.
The scale of the film has been handled extensively and beautifully. There is no compromise on visual effects and the shots look beautiful. whenever weapon A wave of pride rushes through the heart of an honest Indian film lover. They are a work of art.
The action sequences are also executed smoothly and the block on screen by the actors is perfect.
And so the film scales in gorgeous, larger-than-life scenes. A particularly good example is the song dance ghost, Which is set in a Dussehra carnival. Composed by Pritam and sung by Arijit Singh, the peppy rendition is shot so beautifully that it will not only move you, but will also capture you.
Mukherjee and fellow writer Hussain Dalal are careful to set most of the action sequences in non-specific locations where the scale of the fight is not as grand as New York is burning. This saves money. But, most importantly, you don’t miss or expect that level of destruction. Maybe Mukherjee has a note for Western filmmakers—the chaos can be shown without blowing up buildings.
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forced love story
Mukherjee’s audacious project failed to be daring when it came to removing romance as an integral part of the film. Filmmakers should respect the mature taste of the Indian audience and avoid forcefully romancing their stories.
Alia Bhatt’s role as Isha is quite unnecessary. Bhatt’s presence in some scenes towards the climax is disturbing, and the actress becomes a liability on screen. You keep hoping that her character will get something better, but she doesn’t.
The film, essentially, focuses on Shiva’s journey of self-discovery as he ventures to learn more about his relationship with Aag and who his parents really were.
At the beginning of this journey he meets Isha and it is love at first sight. Isha accompanies Shiva in this journey Parvati (Isha, the movie says is synonymous with Parvati).
The instant spark is reassuring but the instant connection is not. It’s hard to buy the fact that just one sobbing tale and adventurous night was enough to convince Isha to follow Shiva on his life-threatening journey and support him in all trials. His presence feels like a burden. Perhaps if they had been lovers for a while, the romantic angle would have made more sense.
Mukherjee tries to justify the romance by connecting it with the bigger story of the film. In doing so, his plot not only enters a stale category, but also pulls the film from classic to above-average. It makes you wonder if the writing could have been better.
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Ranbir, Amitabh are leading the show
The film follows the backstory of Amitabh Bachchan and Ranbir Kapoor who perform brilliantly as ‘guru’ and ‘shishya’.
Mouni Roy, however, is really bad as the villain, Junoon. It’s as if she forgot she had to act. His dialogue delivery is flat and his face is blank. The authors never reveal the motivation behind Roy’s intentions.
There is no gravity or endearing personality trait in Alia Bhatt’s character.
The romance also deprived the other characters of the screen time they deserved. Had Mukherjee not infused his core plot with larger-than-life romance on screen, he would have been able to give Shiva a more serious dimension and introduce other important characters. Mukherjee did a gross injustice to the character of Nagarjuna, Mahesh Shetty aka the artist. We don’t know anything about him except the fact that he’s also powerful Astra.
When Shiva reaches his Teacher and tries to learn about his powers, we see the other, little astraRaise children, but never know anything about them. They are just placeholders that serve no purpose in the climax. To create a franchise, the film needed to make all these characters memorable as well. But that being said, Brahmastra: Part One – Shiva There is a real cure for eye pain, in which Mukherjee (mostly) hits the nail on the head.
(Edited by Zoya Bhatti)