Un certo tipo di cinema in lingua malayalam ti colpisce dritto al cuore. Al di là delle eventuali lacune nella sceneggiatura, della prolissità nella narrazione, delle reiterazioni di soggetto o formula, ti colpisce comunque dritto al cuore. È un cinema emotivo, sorretto da interpretazioni interiorizzate e da registi appassionati. Non sempre esaltante, mai freddo. Racconta vicende personali, conflitti familiari, esperienze anche dolorose, dilemmi morali. I personaggi sembrano spenti perché taciturni e introversi, riflessivi, spesso tormentati.
Veyil rientra a pieno titolo nella categoria. Siddhu, un giovane fragile e rabbioso, cerca la sua strada e sfiora il crimine, oscilla fra un disperato desiderio di essere accettato e impeti irrazionali di aggressività. La sceneggiatura è fitta ma un po' confusa. Il perno narrativo è l'aggrovigliato rapporto madre-figlio, da cui si dipanano a ventaglio le altre sottotrame - interessante l'esito della storia d'amore. Veyil si sforza di mostrare tutti gli aspetti in gioco. Siddhu, infelice e prigioniero di se stesso, non è conficcato artificialmente in uno scenario: il suo passato, il suo bagaglio personale, le sue relazioni affettive e il suo quadro psicologico sono delineati con cura. È completo nelle sue insicurezze e nella sua traiettoria di evoluzioni e involuzioni. La sua formazione passa in secondo piano rispetto alla caratterizzazione del personaggio: chi era? chi è? come lo è diventato?
Il cast è ottimo, in particolare Shane Nigam, attore la cui sensibilità ben si addice al vulnerabile Siddhu. Sarath Menon, regista e sceneggiatore, è ispirato e complice. Pur con qualche esitazione e qualche incertezza di troppo nel ritmo, si percepisce l'impegno che ha profuso in questa sua comunque apprezzabile opera prima.
TRAMA
Siddhu è uno studente ripetente e svogliato. La madre lo tratta con durezza e preferisce interagire con Karthi, il giudizioso figlio minore. Siddhu si addolcisce solo con Shruti, la ragazza che ama. A mano a mano che la trama si snoda, la storia e i personaggi si approfondiscono, e vengono al pettine molti nodi che indurranno Siddhu ad allontanarsi dal suo ambiente e a commettere errori.
RECENSIONI
The Hindu:
'Certain elements of Veyil are well-executed, but a dullness creeps in in between. Veyil can be quite a strange title for a film when there is hardly a ray of light in the life of its protagonist. But then, it could also be a reference to the harsh rays that drain the life out of plants, leaving them dry, and the earth parched. (...) Sarath [Menon] uses the material in multiple ways, to look at the internal friction within the family, (...) and his slow descent into criminality. The latter is one of the things that the film gets right. Just like Siddharth [il protagonista], the audience too might find it hard to identify the exact point where he takes the turn to the dark side, although finding the reasons for the same can be easier. It also goes with the nature of the script, which is vague in parts, leaving quite a few things unsaid and labouring needlessly over the things that are somewhat clear. (...) The script, even while focussing on Siddharth, gives almost equal importance and character to those around. (...) One of the downers for the film is a certain dullness to the proceedings, which cannot be explained away just by the kind of theme it is dealing with. Ironically, some of the darkest events in the film, especially the key event involving Siddharth’s brother and a mentally challenged relative of theirs, appear as the brightest spots, due to their execution. Veyil has some well-written, well-executed passages, one cannot but wish for some level of trimming and a bit more of coherence'.
S.R. Praveen, 25.02.22
Film Companion:
'The film's dream-quality makes Veyil both a difficult and a special film to experience. (...) This style of writing adds a layer of melancholy and an honesty to the retelling of what's essentially a balance-sheet of good deeds versus regrets. (...) It essentially wants to be one thing - a story of brotherhood. (...) Veyil (...) develops into a tragic coming of age story where there are no miraculous escape from reality. (...) Veyil remains a poignant and painful journey about growing up and growing apart'.
Vishal Menon, 01.03.22
Cinema Hindi: *** 1/2
Punto di forza: sceneggiatura introspettiva e articolata, atmosfera intima, Shane Nigam e il resto del cast.
Punto debole: a tratti la lentezza. Avrei preferito una durata minore.
SCHEDA DEL FILM
Cast:
* Shane Nigam - Siddhu
* Saed Imran - Karthi, fratello di Siddhu
* Merin Jose Pottackal - Merin, amico di Siddhu
* Sreerekha - madre di Siddhu e Karthi
* Sona Olickal - Shruti, fidanzata di Siddhu
* Shine Tom Chacko - Jomy, parente di Shruti
Sceneggiatura e regia: Sarath Menon, al suo debutto
Colonna sonora: Pradeep Kumar, Jango, Pranavam Sasi. Freschissimo il brano The Hey Song.
Fotografia: Shaz Mohammed
Montaggio: Praveen Prabhakar
Lingua: malayalam
Traduzione del titolo: sunlight
Anno: 2022
RASSEGNA STAMPA
* I am happy and satisfied with Shane Nigam's performance, Silpa Rajan, The Times of India, 13 luglio 2020:
'Films were always a fascinating experience for Sarath Menon, even during his Qatar days, where he was working as a sales manager. He was a member of the Doha Film Institute and a short film contest they conducted changed Menon’s life. He was so naive and hardly knew how to craft a script. But he put together what he knew and sent it to the contest. “Luckily my script was selected and they sent me to Uganda, at Mira Nair’s institute. I attended a workshop on screenwriting for a month and that’s how I started to take cinema seriously,” the debutant director said, describing his journey through the wonders of filmmaking. After arriving in Kerala, Sarath focused on his passion for movies and he has also been an assistant to Lijo Jose Pellissery in his movies ‘Angamaly Diaries’ and ‘Ee. Ma. Yau’. (...)
Speaking about the film, the filmmaker tells us that it is a family drama, which discusses a complex issue. “The movie takes the audience through two years in a person’s life. ‘Veyil’ talks about the politics of ‘point of view’ (perspectives). For instance, what I think is right, would be a much more personalized thought. What I believe is right might be wrong for someone else, and vice versa. We are trying to convey the same idea through the project. Shane Nigam is essaying the lead character Sidharth in the movie. The whole film travels through Shane’s character. For a person, his last year of academics and the coming year will be one of the crucial ones and the turning point of life. We will discuss this. Also, the movie will portray the bonds within a family, the relationship between siblings, the egos they have in between, and much more. ‘Veyil’ will also have some thrilling moments,” the director added explaining what the movie is about to offer. When asked about how was it directing Shane Nigam, one of the finest young talents in the industry, Sarath Menon said, “He has given his best. I am happy and satisfied with Shane Nigam’s performance.”
CURIOSITÀ
* Riferimenti al cinema indiano: Deepika Padukone, Om Shanti Om, Mohanlal, Suresh Gopi, Taapsee Pannu.
* Riferimenti all'Italia: un personaggio si chiama Stella.
* Film che trattano lo stesso tema: Kumbalangi Nights.
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