POPCORN REVIEWSS

Written by Kristoffer Borgli, there is an unsaid sinister energy in The Drama that unfolds in a particular scene that has over the years formed a template of films like Perfect Strangers (2016). It remains a classic wherein a game of revelations later, the entire scenario would go onto change for the characters. What seemed like a harmless game for Charlie and Emma, along with their friends Rachel (Alana Haim) and Mike (Mamoudou Athie), resulted in one of the major conflicts of the film.

(Spoilers in this paragraph – look away) It is revealed that a 14 year old Emma had a thought of performing a mass shooting at her school in the wake of all the bullying she was subjected to (her loss of hearing in one ear was due to an infection during a practice shootout), only for her to withdraw at the last minute following another shooting incident that claimed the life of her classmate. But in the same breath, it also makes you question if the intent of a person is equal to a serious action of a crime that were to follow!

There is a hint of Othello in its premise here – except that the neighs are communicated directly from the horse’s mouth. And this specific Shakespearean trait is denoted as a horror film, with intercutting images of the past and future interjecting the narrative – something that literally felt like a fever dream of sorts. In the same breath, even the characterization comes to the party – particularly with respect to the character of Charlie, whose life suddenly makes a 180 degree turn!

The idea of never fully being open to your partner was first mentioned to me by a dear friend, who didn’t wish to disclose her past relationships with her husband. On being questioned by me, she remained clear on how her series of confessions may or may not be taken in the right spirit by her partner. This case point was put to light through the character of Charlie, who suddenly begins to develop cold feet. In a hilarious sequence, he disposes his coffee mug with a gun on it, he startles at the idea of Emma approaching him with a knife laced with beetroot juice on it, and he suddenly develops cold feet in moments of intimacy. All of these instances contribute to the recurring theme of how well do you know your partner? And if you get to know their deepest secrets, would love still be the same? And unfortunately for Charlie, all of these instances take place in a passage leading up to his marriage – even as he quietly removes sentences of kindness and empathy from his wedding speech about Emma.

It is interesting on how Emma shows no trace of violence in her current life – barely even being a shadow of a gun-totting person that she was previously. But when people around her perceive her based on her past, you just know that there are no second chances given by the society. This is contrary to how Emma perceives the world – almost allowing Charlie multiple chances to start afresh, signifying how differently she sees the world.

One of the pivotal characters remains Rachel who instantly voices her concern about Emma’s past. In fact, it is Rachel’s character that remains a chief contributing factor in judging Emma based on her past while sowing seeds of doubt in the mind of Charlie. It must be noted on how Rachel’s past did dictate her actions today – with her cousin being paralyzed during a similar shootout. But her intent remains venomous, something that doesn’t warranty a sense of empathy while keeping viewers emotionally distant to her supposed grief. Her role is similar to the media that wants to sensationalize the issue as opposed to only reporting it.

The writing also briefly dwells on the idea of honesty – a whiff that also extends to the character of Charlie in a moment of vulnerability. In fact, the kind of chaos that ensues in the final act reminded me of a certain Mr Priyadarshan who would often go ballistic with the revelations amidst the chaos. The tone remains much subtler although quite hilarious to witness, even as both Charlie and Emma are invariably on the same pedestal – literally and figuratively, with questions of intent versus action doing the rounds.

The finale is deliberately designed to be ambiguous with its setting. Both the protagonists are battered and bruised in different ways – psychologically and also physically. And the gap between the two chairs on a table does resemble a gap in their relationship too, something that may not be the same again. But the sucker for romance in me, wishes to be hopeful – perhaps wanting the characters to start afresh. After all, what is life, if not a bunch of second chances? It remains a subdued ending even as the journey is sprinkled with black humour that will tickle your funny bone, even as the narrative unfolds like a horror film!