Brinda
Introduction
Sometimes the simplest of stories can be told with a rather interesting screenplay, something that we did see in the recent Tamil film Maharaja too. The ability of the filmmaker and wtiters to hold back enough information in order to entice the viewers is what eventually forms the crux of a story. In the recent film Longlegs, which necessarily was a horror film wrapped in the guise of a serial killer film, the drama did create an ambience of fear with the ongoing investigation that was underway with subtle bouts of chills dominating the proceedings, to a point wherein it hardly mattered to me of whether or whether not the pay-off was rewarding. I would keep the newly released Telugu series Brinda in the same bracket, except that here the element of horror is only a byproduct of the modus operandi of the killer in question. This can be termed as a thriller and a religious one with a strong sense of emotions engulfing the narrative, the latter being associated with one of the characters in a very big manner. When you are witness to three seemingly unrelated tracks being tied up rather neatly in the narrative, which initially was a tricky proposition on paper, then you do know that the makers have done a rather good job. But then overall, does Brinda manage to work, let’s find out.
Story & Screenplay
Brinda follows an investigation that is underway following the discovery of a body who is murdered in a rather grizzly manner. Will the protagonist and her team get to the bottom of it? The story here is layered and definitely riveting with the manner in which it is written. There are seemingly unconnected branches in the story that will initially make you curious on how the events would tie to the main plot, and while you can guess a couple of characters, it is only a hunch from a viewing perspective given the twists and turns that the screenplay standing at 8 episodes of 30 odd to 40 odd minutes has to offer. The good part about the writing is that there is something or the other transpiring, either from a world building perspective or the characterization perspective that takes the story ahead. Yes, there are a few convenient turns along the way too but the overall tension builtup in the screenplay is pretty impressive.
The drama opens in a little village wherein the villagers look to sacrifice a family in order to please a Goddess whom they think is angry, and causing deaths in the village. Clearly, the religious angle in the screenplay is laid out pretty early on, even as the young family escapes but not before a character is left behind to die. The drama cuts to the current timeline wherein ypu are introduced to the protagonist who is a cop but neglected by her peers and superiors who have a very sexist opinion about her. On her part, she too continues to remain aloof probably carrying a mountain of pain while bring neglected by her sister at home, before the conflict in the screenplay is tactfully introduced in the form of a dead body that is retrieved from a water body. And while the superiors are of the opinion of a suicide, the protagonist begins to follow its trail that leads to not only a murder but a sinister conspiracy along the way.
The proceedings here are engaging and compelling, exactly the way it should be for a serial killer drama. This drama isn’t necessarily a whodunnit, given that a parallel track in the screenplay reveals the identity of the killer pretty early on, even shown to be committing a chilling murder for reasons best known to him. But that doesn’t deter the ongoing investigation that is given prime importance from a storytelling perspective, particularly also linking the events in the drama expertly. There is a sense of purpose with the screenplay that also unveils a few important characters along the way, even as the theme of religion is used as an undercurrent throughout the narrative. And along the way, the drama opens a can of worms that not only unveils a sinister secret but also raises the stakes of the drama rather well.
At a few junctures in the screenplay, I did feel that there were some plot points that were a tad too convenient for my liking. It almost gave me an impression of how the writers were searching of going from point A to point B in a rather manipulated manner. But thankfully, the crux of the drama remains intact, never derailing the narrative at any point. There is a strong undercurrent of emotions that runs in parallel to the religious theme, even as the big reveal is followed by an extended flashback that helps the viewers to gain a perspective from the other side, even as the conflict raises a sense of dichotomy for the viewers, on the actions of the perpretrators being justified and not, both at the same time. This leads to a final act that is satisfactory wherein the setting definitely overpowers the emotions and the ultimate conclusion. Overall, the screenplay is well written while bring riveting in its approach wherein the writers did hold back crucial information early on, only for a grand reveal to transpire during the course of the narrative.
Dialogues, Music & Direction
The dialogues are conversational but also true to the themes that the drama tackles through its narrative. The BGM compliments the sinister mood of the drama pretty well. Likewise for the cinematography which comprises of frames that are well placed while creating an ambience of mystery and intrigue in the screenplay. The editing is crisp and never lets the drama meander along without purpose. The tension in the drama is never diluted due to the crisp editing(although I must add that there were a collection of jump cuts that I spotted during multiple scenes, something that easily could have been a single shot). Director Surya Manoj Vangala excels while creating a world of intrigue and showing immense control in weaving parallel tracks rather seemlessly in the narrative. He does also understand the pulse of the screenplay wherein he does well to maintain levels of tension and occasional shock values throughout the narrative. The direction is pretty good here.
Performances
The performances are pretty solid by the ensemble cast. Here I will be conceiling the names of the characters to avoid any sort of spoilers. Yashna Muthuluri has a magnetic screen presence and she does a fine job here even though her track wasn’t quite crucial to the main plot that was transpiring. Jaya Prakash is sincere and earnest in a character that is very affable. Anjana definitely makes her presence felt in a character that was filled with emotions while also doubling up as a silent supporter to her onscreen husband. Anand Sami is phenomenal in a character that is twisted while maintaining levels of naivety. He was brilliant to witness here. Rakendu Mouli is first rate and showcases a sense of restraint while having an interesting character arc that had chances of redemption all along. Ravindra Vijay was another character who was sincere and earnest, and he did bring forth the minor vulnerabilities to his character with perfection. He manages to hold his own in the screenplay while performing brilliantly along the way. Indrajith Sukumaran is top notch here in a character that will keep you guessing. He is extremely well restraint and dignified, and does a superb job here. Trisha as Brinda(the only character name that I choose to reveal) is phenomenal in her OTT debut. Her body language required her to stay aloof even while having to internalize mountains of pain within her. And she was excellent to the core here while also doubling up and being assertive through her character. The emotional streak and the dichotomy that it brought with it was expertly controlled and portrayed by her, in what was a towering performance filled with simmering angst and perfection.
Conclusion
Brinda is a riveting thriller backed by solid performances that makes for a rather compelling watch. Available on SonyLiv.
