Trance. Brings blinding lights and electronic music to my mind, and the viva voce sessions from my final semester at the University. Anwar Rasheed’s much anticipated film definitely has the former elements but if you ask me if there’s more to it , I might as well go into a Trance. This is the second Fahadh Faasil film that I have had a hard time figuring out, in fact I haven’t .This is also without doubt Anwar Rasheed’s most complex film to date and the most ambitious in terms of content. Anwar Rasheed turned legend from a promising mainstream director with just one film, Ustad Hotel. My personal favorite remains his debut though. Then he turned producer for another millenial sensation, Bangalore Days. Trance had big names associated with all departments of filmmaking from the production to the cast to the technicians. The only novice was the writer. The most exciting factor was that Fahadh Fasil was teaming up with Anwar Rasheed. You don’t need more reasons to be entranced as a viewer, considering they didn’t take you for granted. Did they ?
It’s a bold film, someone told me, when I asked for an initial response. Indeed it is. It attacks the many evangelical churches who have turned belief into business without mincing rather beeping words. But if the film hoped to turn controversy into business and do another Padmavat, the people on whom the cameras are trained here have turned out to be a bit smarter than their counterparts up North. It has to be the shrewd Malayali mind at work here when the film is being greeted with a rather cold response in terms of the blowback it expected to trigger. But then, these organisations have always operated incognito.Personally, to me, the movie was a visual and auditory experience that left much to be desired in terms of writing and content. In fact it looked like a derived version of Bradley Cooper’s Limitless. No, it’s not just the pill-popping that makes me feel this way. The protagonists may be totally different in their professions but the themes and the arc of the storylines and the fates of the main protagonists are indeed very similar. Then there was that scene right out of Dirty Rotten Scoundrels, which had a Malayalam version already with Dileep and Jagathy doing the honors.The film primes the audience with some complex questions and situations for most of its running time and then settles for some real simple cliched answers. Now I may have missed something too, but Anwar Rasheed is not that kind of a filmmaker, who is into ambiguous endings and storylines, which brings me to the writer again, of whom I know nothing about. There are questions that remain unanswered for the average audience when the movie endd and it shows on the rather empty halls, considering it’s a Fahadh Fasil vehicle.
Fahadh Fasil holds the film together with his performance and one would be tempted to say that he carries the film almost entirely on his shoulders if it wasn’t for Amal Neeras’s work as DoP and Resul Pookkutty’s immersive work in the sound department. I was curious early on as to what Pookkutty’s association with the film was all about. He more than just does his bit here, even when the writing falters. Aiding the writer also is the background score by Sushin Shyam, though it invoked the James Bond theme and another film which i took a note of can’t recall as I write this. Will save that for another update down the road. Gautam Menon as the baddie makes quite the impression though he fizzles out as if the writer just hit a block with the character. Dileesh Pothan is a changed man here and his character is the only one the audience could relate with, I felt, that of the quintessential middleman. Soubhin as a news show host looked odd early on but he returned to his bumbling on screen self quickly. Nazria remains an enigma, much like the film’s second half. You could always blame the audience for not getting a movie if you are from the Lijo Jose Pellissery school of filmmaking and just say that you have no plans to change and impress, which is an oxymoron if you ask me though. But then yeah Anwar Rasheed produced this film and spent his own money, but so did I when I purchased the ticket. Where’s my closure as a viewer ?