In the final decade, Kannada cinema has seen a bunch of filmmakers who’re making partaking and endearing films which might be primarily based in Karnataka’s hinterland. Garuda Gamana Vrishabha Vahana is a notable addition to the checklist. Far away from the underbelly of Bengaluru metropolis, the film infuses the Kannada gangster style with much-needed artistic power. The story of the movie just isn’t one thing remarkable — it begins with the rise, and rise of younger gangsters, who slay their outdated rivals to determine their domination, solely to fall prey to a future crop of unhealthy guys. What goes up, should come down.
Raj B. Shetty takes that very acquainted story about a life steeped in violence and locations it in a mythological context, which expands the scope of the film and elevates it to the next airplane. It is not about the rise and fall of two gangsters. It turns into extra non secular than a mere act of violence and the way it leaves behind a path of corpses.
What makes it extra interesting is that it comes from the benevolent thoughts of Raj B. Shetty, who gave us such a heat, life like and memorable portrayal of a bald man in a society obsessive about look. In his directorial debut Ondu Motteya Kathe (2017), which he had additionally written, Raj performed the position of a college trainer who has a tricky time discovering a girl to marry, courtesy of his bald pate. He had delivered a realised efficiency of an insecure man, who steadily loses his heat to self-loathing and bitterness.
In Garuda Gamana Vrishabha Vahana, Raj has created the direct reverse of his earlier movie. In the latest movie, he performs the position referred to as Shiva. As the title suggests, he performs the sheer pressure of destruction, a far cry from a timid college trainer.
The film revolves round three important characters: Shiva, the destroyer; Hari, the saviour and Brammayya, the creator. And what occurs when the trio flip towards one another and interact in a battle unto demise? It is an interesting thought. And Raj reimagines the holy trinity as flawed human beings dwelling in modern-day Mangalore. He makes use of the tropes of gangster drama in service of reflecting the life-style and tradition of Karnataka’s coastal areas, which seldom will get their due in mainstream films, and within the research of the character of violence.
Raj is a extremely disciplined author, and it’s obvious in how he creatively adopts a few of the difficult themes of mythology. There is a really tender second between Shiva and Hari within the movie. Hari’s affection and admiration for Shiva really feel greater than only a true friendship. You see pure attraction and love in Hari’s eyes when he sees Shiva. It kind of throws you off as you marvel about the character of their relationship. If you suppose just a little exhausting, there’s a mythological reference to it too. There is a narrative of how Lord Shiva was interested in Lord Vishnu when he took the type of Mohini. From the narrative viewpoint, this attraction of Hari in direction of Shiva has a poetic fringe of how deep affection quickly turns into deeper hatred.
And when a author is as disciplined as Raj, she or he can see all of the oscillating patterns throughout human historical past and mythology and fantastically spin them into an epic story of tragedy.