Thappad - A sound waiting to be echoed

In a staggeringly staged scene, the camera moves from capturing Amrita's and Vikram's conversation to Amrita looking at her maid (played by a stellar Geetika Vidya) while you continue to hear the husband trying to justify an act by ignoring his own privileges. Amrita sees herself in Sunita - quiet, subdued, compromised, and accepting the fate as it is rather than shutting up the man who is responsible for it. It's a powerful scene in many ways as Anubhav Sinha shows you the inception of ideology and what forms it can take if not dealt with at its origin.

'Thappad' (Meaning: Slap) is filled with such moments. Sinha and Mrunmayee Lagoo makes the audience an outsider in this mundane world and by keeping this distance (which is what was absent in a film that is a flagbearer of its rival), allows you to look within yourself to understand the integrated legacy of misogyny that the previous generations have entrusted on you to continue. However, when needed, they also highlight the issues that even liberals do not identify. Such a moment comes when Kumud Mishra's character realises that he wasn't the liberating husband he thought he used to be. The understanding that it is extremely hard for a suppressed, non-revolting individual to break an imagined order (a term borrowed from Sapiens by Yuval Noah Harari) and therefore, requires a person they are dependent on to bail them out is beautifully established in the scene. 'Aapne bhi toh kabhi nahi poocha ki gaana kyu choddh diya' (translation - Even you did not care to ask why I left singing) is a question to Mishra's character about him being too consumed in his own thoughts that he never really bothered to understand that the wife, more than the freedom, wanted him to also give that push for the freedom periodically. It is easier to judge a society, probably more difficult to understand the roots but hard to identify your part in the problem and actually, it within oneself.

While Mulk had a Hindu standing up for a Muslim family; Article 15 had an upper-caste trying to comprehend the plight of the ignored yet tortured lower-caste; Thappad takes it even further by bringing everyone under the umbrella via 'just a slap' - a hard to comprehend statement for the patriarchy. Every character is questioned. Every character undergoes a change (barring a delightful Dia Mirza's) via that one slap and therefore, are made to question if their lives were as righteous as they thought it to be. Dia Mirza's character epitomizes an ideal world that people either seek answers from (Amu asking why she never married again) or raise questions on (Vikram enviously asking what she does for a living) since it is different from the world they are exposed to. In another scene, she says that she likes to believe that men are good and therefore, will ignore what Vikram has asked her to do. This is minimalistic writing at its best. She cannot accept an act (asking her to lie) or an ideology (unidimensional thought induced sweeping remarks) to enter her perfect reality.

On the contrary, Ram Kapoor's character is dystopian and sketched on the lines of a stereotypical man whose only loyalty lies to his profession and how to be the best at it even if it comes at the cost of morality. He is staged against Maya, who is another layered character and symbolises that the 'woman behind a successful man' is just a saying. In reality, it is the antonym that is practised. And then is the character of Sunita, a perpetually oppressed woman who finds happiness in the tiny windows of time that she gets, she acts as a wonderful comparison between the educated and the ignorant. All men are the same, she concludes after the episode and therefore, she should not be abusing her husband alone for a crime that a supposedly educated man commits as well passing off as his right. 'Are we really a society of literates?' asks Sinha through her. She gets a terrific conclusion right from putting down that extra money (an act that Ram Kapoor's character would not even think of doing) to questioning her husband to the best of her capacity and eventually, giving it back to the man who always thought he owned her.

Every character is a symbol in this film. There are characters like Ram Kapoor's or Manav Kaul's who will not even try to break the imagined order and will fail to understand why the world around them toppled (I can see a popular business analytics website going that way). Then there are characters like Shah's and Azmi's who places a tradition above morality despite them being the victims of the act. And this is where they are having their own battles and as usual, decide to persuade the more logical side. However, unlike the others, they are the first to welcome a change that they themselves would have loved to bring which brings me to Amrita. Amidst all the noise and aggression around, the character never tilts on the wrong side of the moral compass. It is not until the fake allegations that are made against her that you see her aggression (a realisation that the society would go to any length to keep the sexism intact). Even the metaphorical slap to everyone around her through that conversation with Azmi is such a thing of beauty. Unlike other characters, Amrita knows when it goes wrong. The first person she informs about her pregnancy is Vikram. There is no ego or even an acknowledgement of a rivalry. She knows what is right. She knows what she has to do. It's never dramatised from her end. What you see is extreme reactions from people around her showing a clear mindset that they lack.

This is a film that is not just cinematically correct (look at the scenes where Amu and Vikram are trying to have a conversation and Sinha uses a glass between the audience and the camera until the final court scene where you get a closeup shot of the two, indicating what a relationship actually is) but gives us a pathway to how the future should shape up. This is visionary, this is important and this is a film that won't leave me for long. For all the Manavs and Kapoors (just their characters), it will be hard to understand why this film is important but all I want to say to you is that your mind and your soul needs better representation. 

A story of two storeys

When I was a young kid, my mother kept reminding me of a certain virtue; a virtue that I never knew would come back to me. She reminded me that a face is a reflection of one's inner self. It is the outsourcing point of the energy that you develop within. She wasn't a psychologist nor a face reader but it kept me in check. Throughout though, I never understood what she meant.

And as is avoidable, I grew up. I developed my own set of beliefs. I turned materialistic faster than I could comprehend the barrage of emotions that had started to develop within me. Believe it or not, your reality alone does not contribute to your future reality; you are being simultaneously governed by realities that you might have never met.

A theory that was consciously ingrained within me travelled to my unconscious and then got lost midway before it could reach my subconscious. That is the problem with habits. They always need extra attention to develop or deteriorate. 

Well, it did come back to my conscious again. A few years too late but better late than never. I had already been passed that age where you transform from being a stupid rebel fighting for your individuality to becoming an individual. A human, made up of rectified/regrettable mistakes and committed towards flaws, I had entered a professional workspace of long relentless hours and an attitude directed towards success unless the day when success merged with failure. A floor below mine at the cafeteria, I saw this person. Not too hard to describe but I won't. She sat across from my table. Alone. And suddenly the blockage between the unconscious and subconscious decided to clear up by thrusting the thought back to my conscious.

Was she the one that my mother was referring to? But that can't be because they have never met. So that's off the table. Or maybe this was the idea of individuality: finding your own definition of perfection. "Yes, that's it", I thought when I deciphered the code. Her face reflected stability; stability in so much abundance that any nearing reality could stabilise by merging with it. This was the first time I was experiencing what I was taught; I had only practised it before.

And thus began a journey. A journey that happened naturally due to the desire for the satiation of hunger. A desire for stability, the satiation of a philosophy and a hunger for perfection. The cafeteria was the only place to eat for both of us. A floor below mine, it became a subconscious meeting point. A formal acknowledgement of each other's existence entered our reality. Just a wee smile when we unintentionally exchanged glances. Every movement of hers was a corroboration. Movements that shouldn't find a mention here.

There was a catch though, like every other story. I am a human. And there is one thing that all humans do. Which is that they judge. So do I. And me being the human was the catch. We never spoke. To this date, we haven't. I never made an effort to do that and neither did she. Maybe she thought what I was thinking even to this day.

There is an inherent ego. An ego that we satisfy every day through people around us. It breaks at times but we develop a stronger one. The ego forces us to have an opinion. About people through our narrow telescopes. We define them in our own way and wants them to bend their reality to resonate with ours. Likewise expectations from the other side. The question is - if you take a part out of perfection, would it continue to be the same perfection? Just like a Ship of Theseus. She was my idea of perfection. A vibe that she was, could have easily been decimated with my incapacity to let go off my ego. A question that kept bugging me at that time and probably her as well because neither of us made an effort to talk. The success of knowing about each other might have been the failure of the relationship that we were sharing. There were times when she'd pretend to look away when I looked towards her. I did the same.

We were probably driven by similar ideologies. Life was coming a full circle. The days went by and then one day, she wasn't there. Probably on a holiday because the sun was out and you hardly get sun in the city where I live. A month went by and she still wasn't there. Not hard to conclude what happened. She had left and I do not even remember the last time we were together on that floor passing by each other holding our trays in our hand and greeting the vibes that we were for each other.

It could have been that she never thought on similar lines but I don't want to deviate from my perfection because that is what I had found: my take on what perfection is. I do not strive to be like her and compare other realities with her. That would be unfair. It is an answer to a problem that I never knew needed to be solved. And to top it all, with all the evidence supporting the argument, that extra thrust was exerted for a thought to become a behaviour. However, since the journey was so unadulterated, the acknowledgement of my subconscious has been in place. 

The alternate version of Sacred Games

SPOILERS AHEAD

The show has been loved, hated and talked about so much that another review would just be a culmination of picking different stuff from different reviews that are already published. I loved season 2 so much more but I was also in for a treat since a friend of mine told me that 'Guruji' wasn't really behind everything which made me wonder who could be the one creating the ruckus.

This was when I had just about finished episode 5 and my immediate reaction was 'Dilbagh Singh' and I started to think about it and the plot sounded a lot more fun(had that been the case). However, there were certain areas that I thought about that acted as an alternate version to this wonderfully crafted show. They were never fulfilled, though, but the assumptions were good while they lasted. Just to clear things out, these were my thoughts before I finished the last episode.

1. Gaitonde calling Sartaj - Jojo tells Gaitonde that he has been made a fool for almost 20 years by the concerned person. Now, he hadn't known Guruji for 20 years but Dilbagh Singh met him 20 years back. The process of overseeing the entire plan without divulging your identity could have been a good reveal, had it been the case. Dilbagh Singh was making sure that Gaitonde has broken down completely before taking him under his wings. This plot point would have worked even during the part where Gaitonde meets him again in the ashram. He did not want to see him unless he was sure that Gaitonde has surrendered to Guruji's will.
2. The Baap Connection - It was all about Gaitonde's three fathers and how each of them fucked his life. Gaitonde's realisation about who the main person is could have been a justifiable driving force for him to call 'Sartaj' since the son might be able to emotionally weaken the father or at least make him vulnerable. He also says that fathers are always the ones who fuck up their children's lives and this could have acted as a hint for Sartaj to realise what is going on. Also, the stories are running in parallel. Gaitonde talks about his dads being evil. A clue that was almost there but people wouldn't have caught on. 
3. Bhaagwaan mein maante ho? - First words on the phone.
4. Blind Faith - Another layer that it would have added to the narrative would have been to Sartaj's mother's beliefs that his husband was a good man. The confidence in your loved someones is so densely clouded that you cannot comprehend that their highly positive (perceived) actions could drive them to do something insane. The conversation between Sartaj and his mother could have negated the possibility of such a plot and then reinstated it like a twist in the end.
5. Just like my Dad - Malcolm Murad not killing Sartaj and asking him to fulfil his father's wishes.
6. The Shahid Khan connection

There are a couple of scenes that I felt were solidifying my assumptions, too. The first one is when Guruji allows people to leave his 'Satyuga' plan and then Dilbagh reacts. I thought he was hinting at Guruji to send Murad. The next is when Kalki enters the secret room to reveal that Guruji is still alive. She is looking towards something else before she turns to Guruji and the camera pans towards him. I thought the reveal would have a flashback with Dilbagh sitting at the front and Kalki looking at him first. 'Guruji' could have been a tool like Gaitonde and all others were. The pattern drawn in the end would then pave way for another season.

There are many plot points that would fit in, assuming the mentioned cases. The only additive that I think should have been there was the motivation of Dilbagh Singh to create this chaos. However, there could be another season to explore Dilbagh's motives and how then Sartaj tries to tackle an ideology that he never thought could go wrong. Aham Brahmasmi.

Gully Boy - A successful journey marred by an unwanted ending

Gully Boy has been receiving an immense amount of love and Zoya Akhtar has another film in her list which she has to beat, the other being ZNMD (strictly based on responses), the next time she decides to direct a movie again. For me, Gully Boy deserves all the love that it has been showered upon but there are areas where the film could have been so much more than it actually turned out to be. Despite being such a gem, I still came out with some of my desires (Murad) unsatiated.

Speaking of the positives, Gully Boy boasts of some of the finest cinematography and production design in recent times. Talking further about camera movement, I was blown away by how meticulously Zoya has collaborated with Jay Oza to slide cameras that convey the inner struggles of a character. The scene where Murad is trying to walk towards the club after being attracted to the rap being played (his dream) and how he then walks back after being calmly rejected by a bouncer. The initial camera movements are slow that speaks about how the enchanted world engulfs you with a leisurely pace and when the reality strikes you hard, you just go back to being you with a reluctance (displayed by fast-moving and slightly shaky camera panning) and in a quicker time that it took to reach you there. The idea of the film is beautifully established since a mere movement of the hand by the bouncer is enough to let Murad his dream go since he is aware of what lies beyond once he starts to resist the reality. Another aspect of cinematography that blew me away was the meeting point of Alia and Ranveer. You do not get to see the surroundings until right before the interval. What we notice is a bridge over garbage that is metaphorical to what these individuals are trying to do. In between a song, you see Murad and Safeena sitting inside the train with two distinctive colours of background lighting (blue for Murad and Yellow for Safeena) explaining their classes how they have merged them together. The point where he is sitting inside the car (lights being reflected off the smooth surface of the vehicle denoting how his life is the one that is destined to be big) and mouths 'Apna Time Aayega' was pointed out by someone and that is where the brilliance of the makers lie. The song 'Mere Gully Mein' just comprises the sheer awesomeness of the makers. Amidst all of this, the aesthetics are on point, be it the lanes of slums or the rap battleground. 

Diving deeper into the bridge scene, the storytelling by Zoya keeps informing you of what is to come and all you have to do is catch onto the clues. Safeena leaves the bridge and Murad is too careless to notice her insecurities and walks away from the other side. It culminates to a mini break-up. Or the part where Moeen is seen involving kids into drug business and how that becomes a major plot point and another reason for Murad to win that competition. Another thing that comes to my mind is the train scene where Safeena takes a dig at Murad's friend and eventually does that again to take Murad back. These are little moments but the brilliance of Zoya and Kagti made sure that they weren't there for the sake of it. Another bit that I loved was when MC Sher rejects Murad's offer to sing his lyrics saying he does not convey anybody else's life story. This is Zoya's wee homage to art and true artists. It is your own experiences and understanding that brings out the art in you and catering to a process outside your own framework might drive you towards the craft but can never elicit the energy that just about helps you cross the line. (Tamasha made filmmakers and 3 Idiots, cameramen)

In terms of the art of acting, I saw Murad throughout the film. Compared to his portrayal of Khilji (which was hugely appreciated and I felt I saw traits of Ranveer which was a letdown), this is a film that brings out the actor in him. Alia as Safeena makes you wonder the powerhouse of talent that she is. You just get to see another version of a human breakdown in her performance. The other star cast has been spoken about and I do not feel the need to add any more to that although my appreciation towards Kalki keeps growing by leaps and bounds. Zoya has pulled off the best ensemble cast in a film for me. I sincerely hope none of them gets typecasted and we get to see more and more of them.

The finale of this wonderful movie was, however, a letdown for me. None of the characters in the film is looking to find themselves or getting into something; they already have the talent and the balance (and relationships) but do not know what to do with it. The film starts off at a random point in each character's life and all you see is the current part of their lives, like a continuum. You get to know where they are coming from but you, as an audience, are left to make conclusions about it. Concluding the film in such a way was a total letdown for me. The final few minutes of the film, after Apna Time Aayega, were not necessary, as per my opinion. It would have been better had it been left to us (as was the case throughout) to guess what happens after. The journey should not have come to an end. Although they did try to cover up by cutting to the end credits after Murad asks the crowd about their demands; I, personally, felt it wasn't necessary. The movie is a journey of desires and desires are never fulfilled since, like our genes, one gives birth to another.

Additionally, the two scenes that shook me were Aftab hitting Razia and Murad seeing kids packing the drugs. However, it also made me realise how soft the rest of the moments were when it comes to depicting the harsh realities of the slums. On the contrary, I was okay with the film until those two scenes appeared since I believe people tend to, subconsciously, make peace with how screwed up their lives are. The dichotomy did not go down well for me.

That being said, Gully Boy still triumphs and the flaws that I found can never outweigh the plusses of the film. This is a gem that needs to be nurtured and appreciated. More power to Zoya and Kagti for making this unprecedented musical and introducing India to Asli Hip-Hop. I cannot wait for what she does next. The landscape of Indian cinema is changing. We are probably not seeing it since our desires keep multiplying. The journey continues.

Dimension Unavailable

Based on my last post about a movie called 'Zero', I kept wondering about the need to be more open in our approach towards the acceptance of things that are around us or probably not.

The idea of filmmaking was to create an aura for the perceiver to be transported to a dimension that they will have to detach themselves from after few hours. That being said, since the impact was so powerful, it gave rise to cinephiles who started seeing between the frames and discovered an extra dimension to filmmaking.

Quoting a personal example, my parents always thought that I was interested in movies because they were fun to watch and a career in it would be like a part-time job for me, once I have settled down in my life. For the most part of my life, this thought framed a major section of my reality until I started to find my own voice. Ever since then, there has been a huge change in my parents' approach when they watch a movie because they can now see the dimension that is present right in front of them. Earlier, their minds were clouded by opinions of people around them, which is still the case. Only this time, their society has been shaped up by me.

This brings me to our own cinephiles. Just like a modern day society that is condemned for being too arrogant in their ways of adhering to rules that are way too ancient and rigid, the filmmaking society has become what we call a social structure with an ideology that has no relation to subjectivity. There are rules that are being followed. There are voices that are being heard. An artist, amidst all of it, is creating a product that they want to, only to be left surprised by its rejection owing to these voices and rules. I don't think I need to put examples in here.

There is a regular trend of mapping out a film through certain parameters that are definitive which is fine. The problems start to arise when everything in a film is defined by those parameters and there is an individual assessment of their presence instead of taking a holistic approach. This is why a film like 'Zero' is ridiculed despite it claiming to be a film that took everything literally. There is a constant need to suit one's own artistic ego via someone else's work. The last line, to me, is something that is completely unfathomable.

Another example that comes to my mind is that of 'October' (which surprisingly is mentioned in most of my posts). I requested a friend of mine, who is completely oblivious to the cinema and watch movies for the same reason my parents used to, to experience this film. I wanted to see how truthful the film was through an external dimension (albeit her internal) and she absolutely loved it. For someone who is still into typing WhatsApp messages like 'sm1 clled u' wrote 'Every improvement was a sense of Hope' because there was, subconsciously, a desire to express one's own feelings, once they saw their own expression via an external reality, by recognising the presence of that dimension. She asked me if any of the makers had experienced that in life since it would not be possible to get everything spot-on. Which makes me wonder if she would have liked the film at all if she hadn't felt the emotion in the first place?

Adding to the list of examples is that of the group favourite Anurag Kashyap. He has been a terrific director and a brilliant craftsman. However, I felt his writing aspect started to get repetitive with each film and Mukkabaaz was a complete disaster for me. He comes with a film called Mannmarziyaan that is not written by him and you could see a huge change in the way he presented the story. For me, it is his best work since none of them has stayed with me for so long. I strongly believe he needs to start looking beyond himself to keep nurturing his craft. This idea of widening your understanding of this universe not by expanding it but finding a new dimension within the existent reality is something that I am trying to present here. It is not about whether the dimension will hold true in the future since in the past a number of scientists had been asked to falsify their theories in order to accommodate the ego of the religious institutes and bureaucracy. It is about sustaining the idea in your own wee realm and allowing it to make its presence felt in the world outside.

This, obviously, brings me to 'Zero'. There were polarising reviews and I had read most of them. However, the more I read them, the more confidence I had in the film. I could see people pointing out mistakes which were actually the strength of the movie but they were in a dimension that we have chosen not to see because the order that we live in has been powerful enough to make us do so. After watching the movie, I felt the lesser the people watch it, the better it is (which was wrong from my end) because of the downgrading it will face from the people due to incomprehension. It had happened with 'October', with a few reviews drawing criticism towards it pace, and I did not want 'Zero' to go the same way. Alas, it did.

One of the worst criticism that the movie received was the showcasing of the love angle between a Scientist and a High-School dropout. These are the same people who have been critical about the division within the Indian circuit in terms of multiple parameters. However, when it comes to 'Intellect' or 'Class; the division somehow seems okay. Categorically speaking, it's not. The idea of finding something in nothing is what an artistic mind does and it is the acknowledgement of a person of who they are, irrespective of the parameters that have shaped them up, that forms the definition of Equality. Science is no different than Art. As a matter of fact, every profession can be termed as Art (mentioned in one of my other posts). But then, some of our cinephiles and critics do not want to look beyond what they know. A coherent story, a strict screenplay and a logical outcome are what continues to define 'Good Cinema'.

Did Cinema exist for this purpose or are we just following a trend that someone started? 

Murakami in Bollywood

Finally, Murakami comes to India. It's been a week since I saw Zero and I chose not to write about it then because it took me time to process what I had seen or rather experienced. This isn't as much a review as it is an expression of my feelings. *FEW SPOILERS*

Zero is a winner not because it is unconventional but because it stays true to what it is. We have all, at some point in our lives, dreamed of a miracle to happen. This is a movie of such miracles happening at regular intervals. The movie starts off in a typical Rai-Sharma style with the characters being established and a giveaway of a conflict that would soon seep into the screenplay. However this time, they take it a notch higher with Bauua (a brilliant SRK) swiping stars from the sky. I bought into the world immediately, hoping that I will be in for a joyride and I wasn't disappointed.
Unpopular opinion but I enjoyed the second half thoroughly. The first half was more of typical storytelling coming from the writer-director combination but the second half is where they upped the ante. I feel the idea of the film was inspired by Murakami's world. There are two regular people who get embroiled in a love story that has metaphysical elements and their life takes a turn with attributes like love, loss and life embodied, only to have those characters have a happy ending.
This is no easy film to sit through because it is illogical. Illogical not because it has stupidity written all over it but because we, as humans, cannot comprehend something that does not feature in our logical framework. The idea of finding our own realities in a world that is virtual has seeped in so much that we fail to differentiate between our imagination and what is real. At the core of it, Zero is a humane story of triumph, grief and emotions but is coated with a plotline that is beyond this world, both literally and psychologically. And this is what makes it great. How can you judge a film that is based on a parameter lying on the opposite end of the general human spectrum?
There are two ways to it. You either discard it or accept it in the form that it has been created. People chose the former and I have no issues with that. However, the film would go down as one of the finest experiences I have had inside a theatre because it transported me to a dimension within our world but a dimension we cannot feel because we have not sensed it. It does take its concepts literally but not seriously which is a dangerous line to function on.
Our logical framework has an ego that needs to be satisfied and the movie challenges it, just like any other Murakami novel. It puts in real characters with real inner conflicts and makes them do extraordinary things that people can only dream of. Bauua kept blaming his father for every trouble that he had to face in his life and the father, eventually, becomes the reason why Bauua and Afia did not end up together in the first place.
What I am trying to say is that everything fits but not in our realities, which does not make it untrue. I believed in the film since the trailer came out. I believed in the fact that Katrina would be the best part about it since her first poster came out. It had something to do with me being an SRK fan but the film has stayed with me for so long making me believe that my belief wasn't driven by my biases.

Zero is a movie that might never get its due which makes me feel bad. However, when I first compared it to a Murakami movie, a friend asked me not to glorify a shitty film but a true Murakami fan felt the same which gave a definition to my reality of this magnanimously beautiful and yet down to earth movie. Murakami has finally come to India.
It is never 'Sometimes that we wish for a miracle' (as I had mentioned) but 'ALWAYS' wishing for it.

P.S. - I did not intend to add these two points in my post but I cannot resist now, even after months of watching the film. Firstly, the no gravity scene of Zero where Anushka and Bauua have an argument of sorts, but the way it has been shown displays the genius of Rai. Two people, who have a story that does not belong to the world, are away from from the ground and are finding grounds to their haphazard bond.
The next one is probably the most beautiful feeling I have had inside a cinema hall. Anushka completing the countdown for Bauua and then swiping. This is the reason why I go to watch movies. The sheer bliss that the scene elicited from my face is a feeling I would want over and over again. I could not stop smiling since I had seen a moment that blew away my brain. Kudos to the team. And No, Shahrukh, you did not make a wrong film. It wasn't perceived correctly. Your count up till 5 was correct, we could not complete it to zero and therefore, did not see the night stars falling at our will.

Knowledge before Greed

'Tumbbad' is a winner all the way. Again, this is not a review as much as it is a discussion post and yes, Pankaj Kumar has outdone himself and any cinematographer in the Indian film industry this year. Watch out for the last 15 minutes especially.

'Tumbbad' claims to be a horror film and I am still in two minds about the fact whether it redefines the genre or actually introduces us to it. It is a film based on the concept of 'Greed beyond Fear' and how aptly have they explored its depth both cinematically and literally.

It is always our innate desire to pursue something that is beyond our capacity to comprehend. We are in a perpetual state of seeking the ultimate power, based on our perspective, and more importantly, keeping it to ourselves. It is the exposure to the things that we neglect, due to the inferior approach, that really makes us fearful.'Tumbbad' exposes us to such inner demons which pops up and make places in those vacant positions of our mind that should have been filled with the knowledge of what we were supposed to seek. And this is where it is frightening.

A human walks through the jungle periodically and all the trips they make turn out to be a success. The thought of expecting more out of those trips might actually increase the frequency of our visits but also deepen the footprints we leave behind each time for the beasts of the jungle to easily track us. It is not the Greed as much as the child inside us that refuses to stop and despite all the maturity, we follow a route beyond our limits of understanding. And this is where we falter. This is where the demon strikes because they can only overpower you once you give them that power.

It is the point where whims replace reality and we let them, hoping those whims will turn into our reality. We refuse to lose. We refuse to bow down. We accept the God in us but fail to recognise it. We let the external power of our own kind take over our mind sidelining the very reason of how we could be the fascination of those external entities. At the end of the day, this is what makes us mortal. This is why we must lose for the game to end. This is why we must cease to exist for the powers to vanish.

The more we know about the world, the more it expands itself. Or the more we know about the world, the more we realise the unimportance of continuous seeking and how important it is to be satisfied with our process and results. This dichotomy of the same idea is what probably gives birth to the thin line between right and wrong. It is not bad to be greedy as much as it is to greed for something without knowing. The meeting of these ideas and us, and what we could become with all our ignorance and clouded opinions is what makes 'Tumbbad' a compelling watch and a true horror movie.

You are not looking at Vinayak (a fantastic Sohum Shah) but your own self. You see Hastar and your inner conscious twitches. You know you are powerful but can also fathom your anti-power. You realise the powers in you but you cannot use them because you do not know how to channelize them. You will only realise it because you are watching it from a distance. Do not commit that mistake because 'Tumbbad' wants you to go inside that womb. Let 'Tumbbad' engulf you and you will come out as confused and blanked out as I was, probably. I need to watch it again to make more sense out of it. I am in shambles and my thoughts in disarray.