<p>Garuda Gamana Vrishabha Vahana<br />Kannada (Theatres)<br />Director: Raj B Shetty<br />Cast: Raj B Shetty, Rishab Shetty, Gopalkrishna Deshpande<br />Rating: 3.5/5</p>.<p>Dear Raj</p>.<p>You are a man of surprises. I walked into the 'World of Mangaladevi' with memories of a naive, bald man leaving me in splits. The pleasant vibe of 'Ondu Motteya Kathe' (2017) vanished when the first frame of 'Garuda Gamana Vrishabha Vahana' (GGVV) hooked me. I saw the protagonist wash his blood-filled hands in heavy rain. The promos had given a hint of a bloody story. Intentionally or otherwise, the film's premier fell on the 79th birthday of Martin Scorsese, your favourite filmmaker and one of the greatest crime storytellers.</p>.<p>The team of Mangaluru has a reputation of catering to the class audience (ones who want real over reel) and the likes of 'Kirik Party' (2016) and 'SHPSK' (2018) were attempts to reach everyone. 'GGVV' is the 'massiest' film, not just from the team, but also of the year. And when it comes from a filmmaker who views cinema through a serious lens, you get a 'mass' film with lip-smacking ideas.</p>.<p>The film's explosive power in the first-half is due to a series of terrific set-pieces. To put it plainly, in 'GGVV', Shiva (Raj B Shetty) is an abandoned child who grows up to be a feared gangster In Mangaluru. But your treatment is anything but plain. Shiva's birth, transformation, rise and his eventual downfall are rousing scenes that create magic on screen.</p>.<p>I got the essence of 'GGVV' when Hari (Rishab Shetty) -- Shiva's brother/friend -- says, "we didn't mean to kill. We did it for our survival." The mafia allure is what drew me to 'GGVV'. Crime eventually pays, like I saw in several classics. I rooted for the orphan who turned into a don and fought for his people in 'Nayakan' (1987) and 'Thalapathi' (1991). If the backdrop is as important as the criminal world, then I keep going back to Ram Gopal Varma's 'Satya' (1998). </p>.<p>Comparisons are for better understanding of the art. It's not always done to pit one film over the other. Despite a familiar theme, you make 'GGVV' your own by setting it in a world (Mangaluru) you grew up in and building it with technical precision.</p>.<p>You chose to focus on form over content and the results are interesting. Again, it's the first half that showcases your excellent control over narration. You don't make violence gory yet it has a chilling, dramatic effect on us.</p>.<p>The Mangaluru flavour, marked with vibrant colours (the greens), culture (Tiger Dance) and volatile incidents (land mafia, politics), is nicely captured (Praveen Shriyan is the cinematographer). Your writing strength helps you balance the screenplay with these aspects. Midhun Mukundan is the proverbial cherry on the cake. 'GGVV' has an irresistible appeal because of his brilliant score and sound design. </p>.<p>That said, 'GGVV' falls short of the epic drama it wants to be. This was supposed to be the tale of contrasting natures of Hari and Shiva. It was meant to explore the evil side of ego.</p>.<p>Then, I want to ask you, why do we have minimal or no interaction between the two men? Agree that you establish a bond between the two early on but why didn't you find it interesting enough to explore the vulnerabilities of it? Rishab underplays Hari well no doubt. It's encouraging to see an established actor-director playing second fiddle because the film wants him to be that. I wished the character's opportunistic nature was fleshed out well.</p>.<p>These are the reasons for the film's inability to produce an emotional effect on me. The character graphs apart, the story stops having the air of intrigue it had in the first half. Your expansive storytelling gradually becomes simplistic with less or no conflicts. I wish the plot was denser with absorbing drama or shocking moments. I was in awe of how the culminations of Shiva and Hari were filmed. I am not sure whether it moved me because it didn't come on the back of suspenseful or gripping build-up.</p>.<p>The emotional beats I wanted are added in the life of a police officer (Gopalkrishna Deshpande in another affecting performance). He is a pleasant surprise and heart of the second half, which also shines thanks to your now trademark witty humour.</p>.<p>As a filmmaker, this is your big leap. From a film that had its heart in the right place, you have crafted an ambitious movie that banks on theme, character arcs, and technical might. From a film made with limitations, you have dared to go all-out, choosing to shoot completely outdoors. 'GGVV' is also a welcome change from the 'Bengaluru underworld' films that's become a tad exhaustive, to be honest.</p>.<p>Thanks for the surprises. A funny Raj B Shetty turns intense as this dangerously liberated man with animalistic instincts in 'GGVV'. Perhaps, I would love to see the emotional performer in you, something that I missed in this film. Your funny lines in 'OMK' were impactful as were your cuss words-filled aggression (Bya@**si!) in 'GGVV'. Flaws and all, thanks for your second film that makes us think, analyse and leave us with the big question: what next?</p>
<p>Garuda Gamana Vrishabha Vahana<br />Kannada (Theatres)<br />Director: Raj B Shetty<br />Cast: Raj B Shetty, Rishab Shetty, Gopalkrishna Deshpande<br />Rating: 3.5/5</p>.<p>Dear Raj</p>.<p>You are a man of surprises. I walked into the 'World of Mangaladevi' with memories of a naive, bald man leaving me in splits. The pleasant vibe of 'Ondu Motteya Kathe' (2017) vanished when the first frame of 'Garuda Gamana Vrishabha Vahana' (GGVV) hooked me. I saw the protagonist wash his blood-filled hands in heavy rain. The promos had given a hint of a bloody story. Intentionally or otherwise, the film's premier fell on the 79th birthday of Martin Scorsese, your favourite filmmaker and one of the greatest crime storytellers.</p>.<p>The team of Mangaluru has a reputation of catering to the class audience (ones who want real over reel) and the likes of 'Kirik Party' (2016) and 'SHPSK' (2018) were attempts to reach everyone. 'GGVV' is the 'massiest' film, not just from the team, but also of the year. And when it comes from a filmmaker who views cinema through a serious lens, you get a 'mass' film with lip-smacking ideas.</p>.<p>The film's explosive power in the first-half is due to a series of terrific set-pieces. To put it plainly, in 'GGVV', Shiva (Raj B Shetty) is an abandoned child who grows up to be a feared gangster In Mangaluru. But your treatment is anything but plain. Shiva's birth, transformation, rise and his eventual downfall are rousing scenes that create magic on screen.</p>.<p>I got the essence of 'GGVV' when Hari (Rishab Shetty) -- Shiva's brother/friend -- says, "we didn't mean to kill. We did it for our survival." The mafia allure is what drew me to 'GGVV'. Crime eventually pays, like I saw in several classics. I rooted for the orphan who turned into a don and fought for his people in 'Nayakan' (1987) and 'Thalapathi' (1991). If the backdrop is as important as the criminal world, then I keep going back to Ram Gopal Varma's 'Satya' (1998). </p>.<p>Comparisons are for better understanding of the art. It's not always done to pit one film over the other. Despite a familiar theme, you make 'GGVV' your own by setting it in a world (Mangaluru) you grew up in and building it with technical precision.</p>.<p>You chose to focus on form over content and the results are interesting. Again, it's the first half that showcases your excellent control over narration. You don't make violence gory yet it has a chilling, dramatic effect on us.</p>.<p>The Mangaluru flavour, marked with vibrant colours (the greens), culture (Tiger Dance) and volatile incidents (land mafia, politics), is nicely captured (Praveen Shriyan is the cinematographer). Your writing strength helps you balance the screenplay with these aspects. Midhun Mukundan is the proverbial cherry on the cake. 'GGVV' has an irresistible appeal because of his brilliant score and sound design. </p>.<p>That said, 'GGVV' falls short of the epic drama it wants to be. This was supposed to be the tale of contrasting natures of Hari and Shiva. It was meant to explore the evil side of ego.</p>.<p>Then, I want to ask you, why do we have minimal or no interaction between the two men? Agree that you establish a bond between the two early on but why didn't you find it interesting enough to explore the vulnerabilities of it? Rishab underplays Hari well no doubt. It's encouraging to see an established actor-director playing second fiddle because the film wants him to be that. I wished the character's opportunistic nature was fleshed out well.</p>.<p>These are the reasons for the film's inability to produce an emotional effect on me. The character graphs apart, the story stops having the air of intrigue it had in the first half. Your expansive storytelling gradually becomes simplistic with less or no conflicts. I wish the plot was denser with absorbing drama or shocking moments. I was in awe of how the culminations of Shiva and Hari were filmed. I am not sure whether it moved me because it didn't come on the back of suspenseful or gripping build-up.</p>.<p>The emotional beats I wanted are added in the life of a police officer (Gopalkrishna Deshpande in another affecting performance). He is a pleasant surprise and heart of the second half, which also shines thanks to your now trademark witty humour.</p>.<p>As a filmmaker, this is your big leap. From a film that had its heart in the right place, you have crafted an ambitious movie that banks on theme, character arcs, and technical might. From a film made with limitations, you have dared to go all-out, choosing to shoot completely outdoors. 'GGVV' is also a welcome change from the 'Bengaluru underworld' films that's become a tad exhaustive, to be honest.</p>.<p>Thanks for the surprises. A funny Raj B Shetty turns intense as this dangerously liberated man with animalistic instincts in 'GGVV'. Perhaps, I would love to see the emotional performer in you, something that I missed in this film. Your funny lines in 'OMK' were impactful as were your cuss words-filled aggression (Bya@**si!) in 'GGVV'. Flaws and all, thanks for your second film that makes us think, analyse and leave us with the big question: what next?</p>