Submit your Article

What I actually wanted to watch this was week on Netflix was the BBC One production “The Serpent” based on notorious serial killer Charles Sobhraj. But as it is a TV series and I was pressed for time, I couldn’t indulge. Moreover, Randeep Hooda’s portrayal of Shobraj in the 2015 film “Main Aur Charles” has spoilt me for any other impersonations of the world-famous criminal.

So in my search for what’s new this week, I stumbled upon Irul (“Darkness”), an Indian Malayalam-language mystery thriller. In its trailer, the film gave out a dark, gothic vibe befitting its name. But the movie itself turned out be a sloppily written whodunit that tells you who’s done it even before the climax and then you don’t know why you’re watching the movie anymore. Still, we recommend you give “Irul” around 90 minutes of your time because some elements in it definitely deserve attention.

Irul features only three characters in its entire length. Alex Parayil (Soubin Shahir), a writer with an unbalanced temperament takes his workaholic lawyer girlfriend Archana Pillai (Darshana Rajendran) on a weekend retreat. They are driving to a ‘mystery’ destination on a rainy night when their car breaks down in a deserted place. Not carrying mobile phones as part of their tech-detox plans, the couple is forced to take refuge in the first house they see.

In the house, they are welcomed by its eccentric owner Unni (Fahadh Faasil). He tells the couple he never carries a mobile phone and the house’s landline is broken due to rain. Unni also offers Alex and Archana to stay overnight, which the couple agree to. Then, later in the night, when the trio sit down for a conversation, Unni starts talking about Alex’s novel “Irul” and accuses him of being the serial killer, the book’s protagonist. Alex refutes the claim and instead accuses Unni of being a thief and murderer. As the argument gets heated, both men furnish ‘evidences’ to show the other as the killer while Archana has to make a potentially life-threatening decision.

Writer Sunil Yadav sets up a perfect premise for a harrowing crime thriller. But in due course, the film dips in mysteriousness and thrill. There are certain moments that try to make a breakthrough, but debut director Naseef Yusuf Izuddin fails to make the best of them. The film fails to ignite the emotions its genre is supposed to.

But even as writing and direction are on the sloppier side, acting and cinematography of Irul maintain high watchability factor. All three actors, the only three actors actually, are brilliant in their respective roles. Male actors Fahadh Faasil and Soubin Shahir—who are known for their method acting and versatility in the Malayalam movie industry—take it upon themselves to save the film from disaster. In their respective roles as Unni and Alex, both potential serial killers, the actors are convincing enough to confuse the audience. There are multiple long shots in the film, one so long that the film appears like a theatrical production. Not many can pull off long shots as do the actors in Irul.

They justify the burden of expectations placed on them. But it’s Jomon T. John’s cinematography that shines through the brightest, making Irul a visually-compelling treat. The film has a dark tone with most of its proceedings happening inside a dimly-lit house. Jomon capitalizes on the opportunity to use some of the most unusual POVs, mirrors and shadows to create sinister visual effects. The lighting and camerawork put together emulate a neo-noir style which seems to be inspired a lot by Alfred Hitchcock’s milestone setting classic “Psycho” (1960).

Who should watch it?

Irul is a film made for crime, mystery, and thriller movie fans. Watching it, you will identify certain similarities with other movies of the genre you’ve watched and will probably also guess the suspense and the ending. But the acting and cinematography will most definitely make your time enjoyable.

Rating: 3 stars
Genre: Crime, thriller
Actors:  Fahadh Faasil and Soubin Shahir, Darshana Rajendran
Director: Naseef Yusuf Izuddin
Run time: 1hr 31mins

Every once in a while, you come cross a book that you want to barrel through but are also desperate to put down and go fix yourself a cup of tea. You need some time to recover. But then the story is just so beautiful and the characters so compelling that you are back at it before you know it. Soon, you are a sobbing mess. ‘Love After Love’, Ingrid Persaud’s debut book, is that kind of a novel. 

Set in modern-day Trinidad and New York City, Love After Love is a tale of love, loss, and hope. It’s about the never-ending quest to find love, the loneliness in the absence of love, and how hope can keep you going in the most trying times.

The story’s protagonist, Betty Ramdin, a school administrator, has endured years of abuse from her husband, Sunil. And then he dies. She had inherited a huge house from her grandmother and so she takes in a lodger, Mr. Chetan, a closeted gay teacher at her school. Soon, he becomes a part of their family—a father figure to Betty’s only child, Solo.

The initial part of the story is filled with warmth, food, and comfort. There is so much cooking going on and it’s all so elaborate and descriptive that you can almost taste the cascadoux curry and smell the fresh, warm bread. Reading this bit feels like being enveloped in a soft blanket and whatever it is that’s stressing you out in real life feels distant and trivial.

However, Betty longs for a partner. The society, on the other hand, expects her to be in perpetual mourning for a husband who gave her nothing but scars—both mental and physical. Mr. Chetan is compelled to find another place to live when he realizes “Miss B and I needed to be free to meet other people otherwise it was like we were in a sexless marriage.” By then, Solo is living with his father’s brother, Hari, as an illegal immigrant in the US. There are immigrant issues, homophobia, and domestic violence.

This is when your happy bubble is burst and your heart shatters. Each character tugs at your heartstrings. You see them struggle yet smile. They don’t have it easy but they are trying mighty hard to fix things. You wish you could give each of them a hug and tell them things will be alright. That’s how convincingly Persaud has crafted her characters. 

The story is told from three different perspectives through a series of amusing yet heartbreaking vignettes. Betty, Chetan and Solo take turns at the narration. Despite that, it isn’t difficult to follow. Persaud shuffles back and forth between different emotions and settings with ease and makes the story quite seamless. Nothing feels unimportant or is without meaning.

Love After Love is an apt portrayal of the harsh realities of life and how we have the power to lead the life we want through the choices we make. It's really beautiful, even with the heartbreak it entails.

Fiction
Love After Love
Ingrid Persaud
Published: 2020
Publisher: Faber & Faber Limited
Language: English
Pages: 410, Paperback

In December last year, I read Matt Haig’s ‘The Midnight Library’ and wrote a review calling it the best book I’d read in 2020. I wanted everyone to read it. I’ve been meaning to buy a few copies and gift it to some of my friends and relatives. Thinking about it still makes me warm and giddy.

Since then, I’ve followed Matt Haig on Twitter and searched for his books everywhere I went. He is a writer who creates highly imaginative worlds and I want more. Haig has written a few non-fiction books and lots of children’s stories. Sadly, his books aren’t widely available here in Nepal and I want physical copies rather than digital editions. So, I haven’t been able to read any of his fascinating sounding children’s books, like ‘The Truth Pixie’, ‘To Be a Cat’ and ‘The Girl Who Saved Christmas’.

I did, however, find ‘Notes on a Nervous Planet’ and though it’s non-fiction, I bought it straight away because it was Haig. The Midnight Library had me convinced that you couldn’t go wrong with him. I wasn’t disappointed.

His writing style in Notes on a Nervous Planet is very conversational. It’s almost as if a friend is talking to you. Haig doesn’t beat around the bush and puts things quite bluntly. Thus, the chapters are short and you don’t feel like you are hearing/reading the same thing for 500 words when a 100 would have sufficed.

Many of the things he talks about in the book—the role of social media in our lives, how news makes us more anxious, and why humans always want more—are issues we are well aware of. But Haig doesn’t only talk about the problems. He offers solutions to those problems as well. It gets you thinking. There are also lists of things you’d do well to remember. These are the bits that have had me dipping in and out of the book time and again.

I know there are many self-help books out there that offer similar advice and that Haig’s book isn’t unique or important. But the fact that Haig has been through many of the problems himself makes his advice meaningful. You want to take Haig’s advice because you know they are tried and tested. His words feel honest and he is really witty too. In a way, reading Notes on a Nervous Planet makes you feel a little less lonely.

On Twitter, Haig is vocal about mental health issues, mainly anxiety and depression. When he was 24, Haig wanted to kill himself and he stopped just a step away from jumping off a cliff. How he got from there to where he is today is a lesson in itself and we can learn a lot of that from Notes on a Nervous Planet.

Non-fiction

Notes on a Nervous Planet

Matt Haig

Published: 2018

Publisher: Canongate Books Ltd

Language: English

Pages: 310, Paperback

Netflix’s “New releases” section this week didn’t have many new films. Instead, most new releases were old Hollywood movies, some dating back almost two decades. So what do I do? I take Google’s help and come across something I’d strangely missed this year. The 2020 American movie “I Care a Lot” was released on Netflix in February 2021 and had somehow evaded my watchful eyes. So the black comedy written and directed by J Blakeson became my muse this weekend. 

Marla Grayson (Rosamund Pike) does social service in Massachusetts, US, taking guardianship of elders who cannot take care of themselves and are abandoned or ignored by their families. She then places them in elderly homes and also manages whatever funds they have. To the world, Marla is a kind-hearted social service entrepreneur. 

But all of this is a sham. She is actually a scammer who targets vulnerable elderly people, fabricates illnesses for them, and convinces courts to give her their guardianship. With the court orders, she locks up her old victims in a facility where they are heavily sedated and not allowed to contact anyone outside. Marla then usurps all their assets and savings. 

Marla is a successful con-woman with a booming business when she finds her new target— Jennifer Peterson (Dianne Wiest), a wealthy retiree with no family. With her partner-in-crime Dr. Karen Amos (Alicia Witt), Marla convinces the judge that Jennifer is suffering from dementia and takes over her custody, at the same time rummaging through her wealth. But things turn ugly for Marla soon as Jennifer, presumed to be a loner, turns out to have a son, Roman Lunyov (Peter Dinklage), a Russian mafia boss. Roman’s entry into the script causes havoc in Marla and her partner Fran’s (Eiza González) lives. The conflict that ensues constitutes the story of “I Care a Lot.”

The film centers on the idea of choosing your evils—the Devil or the deep blue sea? Initially, you may hate Marla for cheating the vulnerable elderly. She appears ruthless and spiteful. But when you follow her through the story and watch her encounters with Roman and his gang members, you might also empathize with her. Granted that Marla is malicious, but Roman is not a saint either and Jennifer has a closet full of skeletons too. “I Care a Lot” just paints the picture of the real world where there is more grey than black or white. 

J Blakeson’s writing and direction keep the film sharp and edgy throughout. It is hard enough to get the audience engaged in your story; it’s a different ballgame altogether to be able to play with their minds. And Blakeson does that in I Care a Lot. The constantly paced, up-tempo movie needs the audience to be active thinkers to get past it. It is not easy to choose sides. 

Blakeson’s efforts are matched and surpassed by Rosamund Pike playing Marla (for which she also won the 2021 “Golden Globe Award for Best Actress—Motion Picture Comedy or Musical”). As a merciless scammer who has placated her conscience with twisted reasoning, Pike’s Marla is one of the strongest female characters we have seen lately. She is brilliant throughout and outshines Hollywood heavyweights like Peter Dinklage and Dianne Wiest. Not taking away anything from the two seasoned actors; it’s just that Pike’s character as well as her acting are just too strong for anyone to even come close. 

Who should watch it?

I Care a Lot is a declared dark comedy and a disguised action thriller. This means there’re many things to watch out for and enjoy for a wide range of audience. The film, at 1hr 58mins, might feel a bit lengthy for some (including this reviewer), but clever screenplay/direction and fantastic acting do not let you get bored easily. 

Rating: 4 stars
Genre: Comedy, drama
Director: J Blakeson
Actors: Rosamund Pike, Peter Dinklage, Dianne Wiest
Run time: 1hr 58min