The reviewers are unanimous about the technical brilliance of Big B. The new director, Amal Neerad, gets favourable mention about the treatment and handling of the movie and the theme. Cinematography, editing and every other techinal aspect of the movie gets positive reviews. Looks like this is one of the most technically brilliant movies in Malayalam.
Mammootty as the BigB, effortlessly does what heâ€™s best at â€“ he moulds himself slickly into the daredevil mode, and walks the tight rope in an absolutely inimitable manner. Heâ€™s deadly, daunting and fiery; his words are few and the utterances often incoherent as indifferent murmurs. Heâ€™s ruggedly dressed and sports a shady look; his gaze delivers the real chill. He towers over the rest of the cast with absolute panache; and flings out one of those knock-dead performances that are truly lethal. The four man brigade is all zestful; the new find Sumit Naval turning out to be the most endearing of the lot, and is ably supported by a feminine charm â€“ Mamta Mohandas & Manasa â€“ thatâ€™s splashed across in liberal, yet adequate bouts. Villainy assumes colossal proportions in Sheravir Vakil, the big bad man whom we last saw in RGVâ€™s imminently forgettable Game. He is a treat to watch with gauzily remarkable facial contortions and bleak grimaces that give life to the devil that lies dormant within.
Action truly reinvents itself with BigB. This is quite a daring film, and as with most daring films, there is a danger of many people missing the point. Those unwilling to look any deeper may see the underlying philosophy as dangerously fascist and nihilistic, a call for random violence and the destruction of civilization as we know it. However, BigB is no glorification of violence; rather itâ€™s a deconstruction. Amal Neeradâ€™s debutante effort deserves all the laurels for the slickness and technique that it trendily adopts in every frame, every second. Samir Tahirâ€™s camera has done spectacular miracles as it skillfully swoops up and down the parched streets of Kochi, delivering the goods with a splendid flamboyance that is not commonly witnessed in Malayalam films. Add to it the chicer-than-chic editing (Vivek Harsha), a couple of pepper peppy songs (Alphonse), some startling action sequences (Anal Arasu), real stunning ad designs (Papaya) and incredible art direction (Joseph Nellickal), and you have the most stylized visual extravaganza in recent times.
Mammootty’s Big-B, is a stylish and technically savvy film from cinematographer turned director Amal Neerad. It is a fast paced entertainer, which is packaged like Amal’s guru Ram Gopal Varma films, aimed at the youth audience.
All ingredients that go into a yuppie action movie like designer look, shoot-outs, car chases, music video style song, is on display here. The film is inspired from director John Singleton’s Hollywood action thriller Four Brothers, about four brothers who look to avenge their foster mothers murder. Here Mammootty does the lead role of the eldest brother made memorable by Mark Wahlberg in the original.
The film stands out in all its technical departments. Sameer Thahir, the debutante cinematographer must feel proud to get into the fray with such a brilliant work. Vivek Harsha with his breezy editing and Gopi Sunder with memorable BG tracks, elevate the flick to a level of a Bollywood thriller. With Stylish and techno savvy songs and visualizations, the film stands as the finest action thrillers made till date in Malluwood.
And for Amal Neerad, it is the result of his schooling from Ram Gopal Varma factory, which has made the attempt a laudable effort. He has taken care to bring even in the midst of this aggression, to highlight the pain and passion felt by the central characters.
And not once, does the film meander into subplots or take you away from the thin core lines. And in the box office, the film will definitely target a niche audience who looks out for quality entertainment, and will win unprecedented critical acclaim. And to put it bluntly, the film is the Vishu winner in terms of the best in creative expressions, stunning visual mileage and for its treatment.
What makes the film interesting is the technical standard that makes you feel as if you are watching a world class potboiler.
There are no long winding dialogues to establish the characters and melodrama is nonexistent. Frames move at a fast pace, keeping our attention riveted to the screen.
Sameer Thahir’s camerawork is a class apart; it is contemporary and engrossing.
Mammootty is a picture of seriousness in this film. One can hardly remember seeing him smile throughout the film. His getup is impeccable, trendy jeans and jackets going well with his looks.
Photo courtesy sify.com