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‘L2: Empuraan’ grapples with the complex and often unsettling relationship between movie violence and the real world, contrasting its approach with the escapist, insulated violence typically found in mainstream cinema. The article posits that true movie violence, the kind that resonates and disturbs, is rooted in reality, forcing audiences to confront uncomfortable truths rather than offering a comforting, sanitized version of conflict. It highlights the opening sequence of ‘Empuraan’ as an example, where the film directly references the 2002 Godhra train burning and the subsequent retaliatory violence, including the Naroda Patiya massacre. This sequence, characterized by familiar hallmarks of Indian movie action – trucks crashing, sword-wielding figures, speed ramping – is deliberately designed to be upsetting, prompting viewers to reckon with the historical context and the brutality of the events. The explicit naming of Baba Bajrangi, a character clearly inspired by the real-life accused Babu Bajrangi, further underscores the film's intention to confront this dark chapter of Indian history. This willingness to engage with sensitive and potentially controversial subject matter sets ‘Empuraan’ apart from much of contemporary Indian cinema, which the article suggests has become increasingly right-leaning and hesitant to revisit such events in a frank and unflinching manner. The article draws a sharp distinction between this type of violence and the more conventional movie violence that serves to excite and reassure audiences, rather than to distress or dismay.
The article goes on to discuss how ‘Empuraan’ connects the historical violence of the Gujarat riots to the present-day political landscape, suggesting a continuity between the perpetrators of the past and the leaders of today. The character of Bajrangi, now a political kingmaker with influence at the highest levels of government, and his accomplice Munna, now a politician, embody this connection. This portrayal serves as a commentary on the enduring consequences of violence and the potential for impunity, raising questions about accountability and the role of historical events in shaping contemporary power dynamics. The narrative then shifts to the events that unfold six years after the events of Lucifer, following Stephen Nedumpally (Mohanlal), also known as Khureshi-Ab’raam, as he remains in hiding. The film introduces various subplots, including the ambitions of Jathin Ramdas (Tovino), the chief minister of Kerala, to break free from his father's legacy, and the machinations of Govardhan (Indrajith Sukumaran), a journalist still investigating the enigma surrounding Stephen. The presence of Jerome Flynn as the head of MI6, tasked with hunting Ab’raam alongside the Kabuga cartel, adds an international dimension to the narrative. While the article acknowledges that ‘Empuraan’ is more coherent than other recent films like ‘Pushpa 2,’ it also points out some shortcomings. Mohanlal's character is described as an unstable presence, and the film's reliance on elaborate entry scenes for him becomes repetitive. The roles of Saniya Iyappan and Indrajith Sukumaran are deemed inconsequential and repetitive, respectively, while Jathin's character lacks depth, his shift to the right appearing more opportunistic than ideological.
The article further explores the political allegory embedded within ‘Empuraan,’ suggesting that the film presents a bleak vision of Kerala, where the left is weakened, the center is unable to hold, and the Sangh Parivar gains power through external support. The character of Jathin is likened to Rahul Gandhi, while Priyadarshini (Manju Warrier) is portrayed as an amalgamation of women from the Gandhi family, who unexpectedly proves adept at political leadership. The Akhand Shakti Morcha members are depicted as thuggish and well-organized, primarily speaking Hindi, which contributes to the film's overall sense of unease and the perception of Kerala as vulnerable to external forces. Despite the fact that they are ultimately thwarted, the article emphasizes the sobering effect of the film's depiction of Kerala as being ripe for exploitation. The author acknowledges that Prithviraj Sukumaran may not be a stylist, but shows that he is always looking for an exciting shot. The cinematography by Sujith Vaassudev and the frequent use of unconventional angles and visual filters contribute to the film's aesthetic appeal, compensating for its lengthy runtime. The article concludes by noting that the action sequences in ‘Empuraan’ are less inventive than those in Mohanlal’s earlier film, ‘Malaikottai Vaaliban,’ and that there are no standout set pieces that leave a lasting impression. The reviewer seems to have enjoyed the film though, since they are making comparisons to other well known and generally well received movies.
In elaborating on the film's engagement with violence, it is important to consider the broader context of violence in Indian society and cinema. India has a history marked by communal violence, caste-based discrimination, and political conflict. These realities often find their way into Indian cinema, although the representation of violence can vary significantly depending on the filmmaker's perspective and the target audience. While some films may choose to sanitize or glorify violence for entertainment purposes, others may attempt to use it as a means of social commentary or to raise awareness about important issues. 'Empuraan' appears to fall into the latter category, using its depiction of violence to challenge viewers to confront uncomfortable truths about India's past and present. The article's emphasis on the film's historical references and its portrayal of political manipulation highlights the potential for cinema to serve as a powerful tool for social and political critique. By drawing attention to the ways in which violence can be both a product and a driver of social inequality, 'Empuraan' encourages viewers to question the status quo and to consider the role that they themselves play in perpetuating or challenging systems of oppression. The film's willingness to engage with sensitive and potentially controversial subject matter also underscores the importance of freedom of expression and the need for filmmakers to be able to explore difficult topics without fear of censorship or reprisal.
However, it is also important to acknowledge the limitations of 'Empuraan's' approach. While the film may succeed in raising awareness about certain issues, it may also be criticized for its potential to sensationalize or exploit violence for entertainment purposes. The article notes that the film's action sequences are less inventive than those in other recent films, which suggests that it may rely more on shock value than on nuanced storytelling to engage its audience. Additionally, the film's political allegory may be seen as simplistic or heavy-handed, particularly in its portrayal of the left, the center, and the Sangh Parivar. The characterizations of political figures like Rahul Gandhi and women from the Gandhi family may also be seen as lacking in nuance or subtlety. Despite these limitations, 'Empuraan' remains a significant film in the context of contemporary Indian cinema. Its willingness to engage with difficult and controversial subject matter sets it apart from many of its contemporaries, and its exploration of the relationship between violence and politics offers valuable insights into the complexities of Indian society. The film's success will likely depend on its ability to strike a balance between entertainment and social commentary, and to engage its audience in a meaningful and thought-provoking way. It is also crucial to analyze the audience's perception. Is the film's message being well received or is the violence overshadowing the message?
The success of a film like 'Empuraan' in conveying a potent message hinges not only on its narrative and visual choices but also on the cultural and political context in which it is received. India's diverse socio-political landscape means that a film tackling sensitive issues like communal violence will invariably elicit varied reactions. Some viewers might find the film to be a courageous and necessary exposé of historical injustices, while others might deem it to be provocative and potentially inflammatory. The film's portrayal of specific political groups and figures could also be subject to intense scrutiny and debate, as different communities and ideologies interpret the narrative through their own unique lenses. In this context, it is essential for film critics and scholars to engage with 'Empuraan' in a nuanced and critical manner, acknowledging its strengths and weaknesses while also considering its potential impact on society. A balanced assessment of the film should take into account not only its artistic merits but also its ethical implications and its contribution to the ongoing discourse on violence, politics, and identity in India. Such an approach will enable viewers to engage with 'Empuraan' in a more informed and constructive way, fostering a deeper understanding of the complex issues it raises and encouraging dialogue across different perspectives.
Furthermore, the impact of 'Empuraan' can be analyzed through the lens of representation. The choices made in depicting the victims and perpetrators of violence significantly influence the audience's perception and emotional response. Does the film humanize the victims and give them a voice, or does it reduce them to mere statistics? Does it portray the perpetrators as complex individuals with understandable motivations, or does it demonize them as purely evil figures? The answers to these questions can shed light on the film's overall message and its potential to promote empathy and understanding. The portrayal of women in the film is another crucial aspect to consider. Are women depicted as active agents in the narrative, or are they relegated to passive roles as victims or bystanders? Do their experiences and perspectives receive adequate attention, or are they marginalized in favor of male-dominated storylines? A critical analysis of the film's gender dynamics can reveal valuable insights into its underlying assumptions and its potential to challenge or reinforce patriarchal norms. Ultimately, the success of 'Empuraan' in achieving its artistic and social goals will depend on its ability to navigate these complex representational challenges and to create a narrative that is both compelling and ethically responsible.
Also, consider the use of film techniques to elevate the message of the film. The article mentions Prithviraj Sukumaran's effort to include exciting shots and Sujith Vaassudev's cinematography. These are important as without the proper techniques the film will not be able to capture the audience's attention. If that happens, the message might be lost on the audience. Editing and music also play a crucial role in how audiences will understand and perceive the message. The way a scene is cut and presented will make a difference in how the audience interprets the story. Furthermore, music is important for setting the right emotional tone to the story. A well written and well acted movie could lose its impact if the technical aspects are not up to par. Therefore, all these need to be considered to judge the overall impact of the film.
In conclusion, ‘L2: Empuraan’ presents a complex and challenging cinematic experience, grappling with issues of violence, politics, and identity in contemporary India. Its willingness to confront historical events and its exploration of the connections between past and present set it apart from many mainstream films. While it may have its shortcomings, particularly in its reliance on certain cinematic tropes and its potentially simplistic political allegory, ‘Empuraan’ remains a significant work that deserves critical attention. Its success will depend on its ability to engage audiences in a meaningful and thought-provoking way, and to foster dialogue about the complex issues it raises. The portrayal of violence in the film also shows that it is possible to include violence in a way that highlights social issues and events, rather than just providing entertainment. This approach is useful as it can potentially lead the audience to think more deeply about the message of the film. The film's willingness to explore controversial subjects, along with its engaging narrative and technical expertise, make it an important contribution to the ongoing discourse on violence, politics, and identity in India. Finally, it is up to the audience to watch the film and determine for themselves whether or not the movie succeeded in accomplishing its objectives.