Spoilers ahead…
Read the full review on Film Companion, here: http://www.filmcompanion.in/article/solo-movie-review
Bejoy Nambiar’s Solo is an anthology of four shorts, anchored by Dulquer Salmaan in four flavours (had the actor been a newcomer, this would have been a heck of a showreel). There are other commonalities. Each segment spans four years. Each one features Dulquer as a character named after Shiva. Each one opens with a shot of the elements (rain in the first episode, wind ruffling a cyclist’s top in the second, etc.). Each one is capped by twist, and despite the tragedies in the narratives, each segment ends with a happy image. Each story features an accident (sometimes literal, sometimes an accidentally revealed relationship), and each one is deepened by children, either unborn or, well, accidentally born. These are Nambiar’s building blocks.
Continued at the link above.
Copyright ©2017 Film Companion.
Baradwaj Rangan 
harish ram
October 5, 2017
A clarification – In the Shiva short, wasn’t the location a lodge where that ‘coolest shot’ happens?
Coming to the movie itself, agree with you on most points, especially the poorly conceived and executed 1st short and the alienated characters trying to prove in vain about their roots.
Besides that, I am not able to understand the motive of Bejoy here to create such a soundtrack for this film. Either he could have treated those glorious songs as how Karthik Subaraj did in Jigarthana, or gone for some other style and given them the proper justice and a place in the narrative. Perhaps, a case of over-expectation on my side after being bowled over by the OST?
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brangan
October 5, 2017
harish ram: You’re probably right. Now that I think back about that scene, it does seem more like a lodge.
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Navneeth
October 5, 2017
BR, thank you for posting this so soon. As you said, this works best as an acting showcase for Dulquer, who I sincerely hope will continue to pick performance-driven roles and resist being the masala hero the masses want him to be, if today’s crowd at the hall was anything to go by.
I largely agree with your review (SPOILERS):
Story 1 is so generic and rushed that nothing registers; looks more like an extended ad for Kochi tourism.
Story 2 is better and nastier, with a twist I didn’t see coming; but rushed and undermined by the flashbacks, in terms of length and believability – not just the detective work, but also, who dresses up like a Kardashian while cycling at a hill station?
Story 3 is the best – from Dulquer’s silent, smouldering performance, to the locales and the presence of Manoj K. Jayan, very reminiscent of one of the biggest hits of his father’s. Loved the theme of violence breeding violence; the shootout sequence, particularly the long-take portion up the stairs and around the floor; the twist, and the final shot.
Story 4 is a repulsive piece with loathsome lead characters, that devolves into an unintentional comedy thanks to its GOTesque twist. Though pretty uneven till that point, that twist sank the film; the audience started hooting in unison and didn’t let up for the remainder, ignoring the music’s attempts to play it solemn and serious. This story however provided the most hilarious exchange in the film:
Rudra: (paraphrasing) How could you do this?
Dad: It happens.
Rudra: Couldn’t you have found someone else?
Dad: That’s what I’m asking you too.
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Navneeth
October 5, 2017
BR: Harish is right; that was a lodge.
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Navneeth
October 5, 2017
Following on from something I wrote on MANK’s thread, I wanted to bring up the topic of the Kerala audiences’ reactions and certain disturbing tendencies I’ve been noticing.
1) Given DQ’s popularity, obviously the theatre was packed largely with college-age youngsters, FDFS. What I did not expect was the near-Rajiniesque reception that greeted his entry scene.
Okay, there was no paal-abhishekam, but people greeted his appearance with a roar, launching ‘confetti’ and dancing in front of the screen. Throughout the duration of the film, each entry scene was a blessed opportunity to be showered liberally with bits of newspapers thrown up by the boys behind me. Our audiences used to be a lot more docile; when did they start turning into Tamil/Telugu-style hero-worshippers?
2) Whether it’s age-linked immaturity or impatience, audiences don’t seem to handle silences or emotional scenes well these days. Listening to young men greeting a DQ-Dhansika silent-but-emotional exchange with catcalls, I was reminded of the Mallu-Tamil audience’s large-scale hooting that bizarrely serenaded Radhika Apte’s powerful emotional breakdown scene in ‘Kabali’.
3) (MILD SPOILERS) During the final story, when DQ’s character expresses his frustration to his army mates about being abruptly dumped by his GF for no reason, the audience started applauding the numerous viewers making misogynistic remarks.
I mean, sure, the female character seems to have acted like a cold-hearted/despicable creature, but why not at least wait for an explanation (or an attempt at one) before yelling “thechille di!” or other comments in a similar vein?
It’s a little ironic that we have to endure such backward-sliding, small-time mentalities and appalling songs like “Thechille Penne” in a year which saw the success of an empowering film about a female wrestler, whose single-minded dedication towards her career influenced leering male characters around her to grow up, stop seeing her as a sex object and begin to respect her as an athlete and a woman.
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Mohanlal
October 5, 2017
How was the placement of the songs and the picturization? Loved the soundtrack, especially Thalolam.
Navneeth: POSSIBLE SPOILERS Is it an incestuous twist a la Oldboy?
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Pavan
October 5, 2017
Hyderabad isn’t screening Solo right now (blame the rains) and I might have to seek a home video release (obviously subtitled). A review can either make one watch or avoid a film. But your review left me in crossroads. Do you think the film has that one terrific aspect that warrants a viewing (now or later, depends). Like say cinematography, editing choices etc. Something that can help me learn about storytelling and filmmaking?
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Navneeth
October 5, 2017
Laletta:
Soundtrack – Not familiar with the songs except the skin-crawl-inducing ‘Roshomon’ that makes me go all Neeson from Taken, but ‘Aigiri Nandini’ is used during the shootout, and the result is fantastic.
MASSIVE SPOILERS
Twist – Yes, but more like Jamie & Cersei, albeit accidental.
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brangan
October 5, 2017
Pavan: If you like cinema, you should certainly make it a point to watch every film by an interesting filmmaker, irrespective of reviews. And Bejoy Nambiar is certainly an interesting filmmaker.
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Navneeth
October 5, 2017
I’m aware this might now verge on spamming, but still…
Pavan: How not to make a film is also as important.
Granted, this film isn’t as bad as that, and the cinematography is excellent throughout (the 1st story especially is strikingly shot – the wedding sequence and the lights in the background through the tele-lenses); however, story 3 is certainly educational in terms of its writing, performances, cinematography and usage of music. Equally so, story 4 acts as a cautionary tale on needing to be aware of the nature of the product in your hands.
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KaaviyaThalagani
October 6, 2017
Wow. I felt the last portion of rudra’s tale was played deliberately for laughs. Especially the scene with suhasini and dulquer. His overblown reaction to her backstory felt self-aware and not unintentional at all. Furthered by the vera yaarume kedaikaliya bit with nasser. It felt like straddling a line between melodrama? and comedy and I thought bejoy had me where he wanted. Laughing my ass off. No? 😦
But nothing on the energy of the staging? The aspect ratio change and anamorphic lensing/framing in siva’s story had me hooked! But oh boy the erratic change in tone in that TV serial scene :(( still, the fantastic use of color and overall quality of production (design) definitely deserved 3 stars no, what saar.
Compare just the shiva illustrations and the end credit sequence with something so tacky like Nibunan. There’s something to be said about finesse too!
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praneshp
October 6, 2017
@navneeth:
Your directors just started realizing that your people are not that different from Tamil/Telugu, so they are catering to the people, instead of what used to be the audience.
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thupparivaalan
October 6, 2017
I loved the soundtrack. I haven’t watched the film, but going by the review, I think bejoy needs to make some smart writing colloborations. Except shaitan, all his other films have interesting but not fully realized ideas.
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Jeyashree
October 6, 2017
Hoping to catch this one soon… what’s with your reviewing style here brangan.. there are so many mysterious incompletely unravelled sequences you have mentioned in this review. almost like a promotion for the movie… worked for me..
my eagerness to catch the movie quadrupled between the beginning and end of your review… “Only at one instance when is rendered speechless” and my pupils dilate…” watch out for the response to footage of murder of a family member” and I’m like biting nails. .”betrayal by a close friend like never before” and I’m like strapping my floaters at the door… “Finds out something about her husband” and I’m there driving to the theatre.. only it is not screened in my town yet…
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brangan
October 6, 2017
KaaviyaThalagani: The staging was nice in places, but I frankly felt Shaitan and Wazir were more fully realised — “technically” — than this film. In those films, the flash was more organically tied to the meaning of a scene.
Here, I was wondering: What is the purpose of the aspect ratio change? Take The Grand Budapest Hotel or Iruvar. The older (4:3, or 1:1) ratio meant a flashback (in the former film) or a period film being shot (in the latter film). I couldn’t see how this element helped here.
And I didn’t find Nibunan “tacky” at all. I found the style far more meaningful there:
“The director, Arun Vaidyanathan, nails a vibe that lies midway between the fantasy universe of our masala films and the grungy netherworlds of Hollywood’s serial-killer thrillers. The insides of Ranjith’s home are awash in sunlight. The killer’s haunts are lit in shades of puke-green.”
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srinichennai
October 6, 2017
Yet to see the film. Going by your review, while DQ plays characters named after Shiva, it is interesting that the female leads seem to named after Krishna’s consorts – Radhika, Rukku, Bhama… you didnt name the fourth, but I guess it has to be another of the same ilk
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KaaviyaThalagani
October 6, 2017
Fair enough. I usually agree with your opinion. Of course, no rating is absolute and it has to do with one’s expectations from each film.
But I was referring to the presentation – opening/end credits and overall graphic design of Nibunan that SURROUNDS the story. Take the generic 3D title design – it’s one thing to ideate it like a jigsaw and another to make it feel more than an after-effects preset. It has literally no aesthetic connection to any of the other “text elements” on screen.
There were several problems with the colors and light continuity in Nibunan (sometimes within the same scene) Basic technical lapses – inexcusable in a larger professional production that can’t all be attributed to a budget.
And I haven’t even addressed the sound-work. Say what you will about the supporting characters’ tamizh dialogue feeling stunted in Solo, at least THEIR LIPS ARE IN SYNC.
Yes, the aspect ratio doesn’t directly emerge from the plot or time-period like in Iruvar or Grand Budapest Hotel, but it is a very interesting choice to use Anamorphic lensing that squeezes in that many more elements, detail and texture into each shot (and therefore, the stretched aspect ratio)
Take the shootout scene’s section with Dulquer on the right (foreground) and the background actors/goons stretching across the hall behind him, if you want all of that in ONE frame, to show action and reaction SIMULTANEOUSLY with THAT wide a composition, this is the legitimate way out.
I got the feeling of slowly being outnumbered that Siva did too and it really elevated the emotional payoff in that scene. The technical choice enhanced my experience in a way that the silly night-time shootout in Wazir never did. There, the sheer number of back and forth cuts between Farhan and the terrorists(?) zapped me out of the action, despite his state of mind (he was on some pill I think).
Here, there was a genuine sense of tension that the flair in visualization added to, which I couldn’t take for granted.
Which other hero introduction shot was as exciting as Dulquer running through those explosions, where you SEE the dust, rustling through his face like that?
Takes a slightly higher standard of skill no saar? 🙂
(However, I’m with you on Shaitan – I had way too much fun with Khoya Khoya Chand)
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harish ram
October 6, 2017
@srinichennai: I was thinking the same. Maybe that was a hint for us to the big twist in the 4th short?
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Aman
October 7, 2017
Haven’t seen the film, but it seems like Nambiar could use some good writers, much like his mentor. I am curious about one thing, directors who are film makers first get criticized a lot than directors who are good writers. Like if a film is well written reviews give leeway for the writer-director even if his making skills are shoddy, but film makers like Nambiar, Lijo Jose Pellissery etc are criticized a lot if the writing fails or the film becomes a misfire (despite being technically very good).
P.S: Heard thanks to the audience extreme reaction they are tweaking World of Rudra climax.
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Ravi K
October 8, 2017
Bejoy Nambiar tweeted: “For all those asking about the changed ending. It has been done without my knowledge and consent.Good or Bad I stand by the film I made.”
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brangan
October 8, 2017
What? They changed the ending? You mean, the Rudra part? Can anyone tell me what the change is?
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Manikandan V
October 9, 2017
Every part had its worthy moments – excellent attempt – for a change we have detailed attempt on sufferings, What a Man goes through – Interesting Dark Film – Premam and Bangalore days have changed things – we cannot expect another “Thaniyavarthanam”sooner, but it will come.
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Senthil S
October 9, 2017
Thought everyone would find this interesting. Dulquer Salman says that World of Rudra was supposed to be awkward and comedic.
http://indianexpress.com/article/entertainment/malayalam/dont-kill-solo-dulquer-salmaan-pens-an-impassioned-note-to-fans-backs-bejoy-nambiar-4880986/#tie_topcommentlist
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mrinalnarayan
October 9, 2017
Spoiler: That thumb movement of Akshara in the closing shot could also be implying that they share the same genes right? 😛
I liked Rudra’s part in terms of the concept but the execution was pretty lame. They could have done it without all that boxing sequence during the marriage. Also Rudra & co waiting in one corner throughout the wedding process making it look like a gang waiting for Kalyana Saapadu. These sequences are much funnier than the twist which the audience couldn’t take.
I also felt last portion of rudra’s tale was played deliberately for laughs. The Feel was closer to Premam’s climax. (Madonna Sebastian turning out to be Anupama Parameshwaran’s younger sister)
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Navneeth
October 9, 2017
From Dulquer’s statement:
“Sadly because it was awkward people didn’t understand if they were laughing with us (the makers) or laughing at us (the makers). Dark comedies are meant to be awkward… That was our intention. So mocking it, booing in theatres,… and degrading the film because you didn’t get it, just kills the film.”
No, bad filmmaking is what is ‘killing’ this film, as evidenced by the fact you’re having to clarify the ‘actual’ intentions behind it. Don’t blame the audience or question their intelligence for your director’s poor decisions.
It bring to mind BR’s comment about authorship of the film post-release and the audience being free to interpret the film their way.
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Navneeth
October 9, 2017
Consider Rudra’s story, how despicable the lead characters are & the lack of buildup to the revelation:
(MILD SPOILERS – Characterization)
Rudra – an indisciplined Army cadet who disrespects senior officers (including his girlfriend’s dad), barges into their house repeatedly to beat up prospective grooms, and declares that she is his. Reminiscent of Karthi’s character in Kaatru Veliyidai (in which Bejoy Nambiar was involved).
Akshara – Rudra’s girlfriend; an army brat who insults prospective grooms and gleefully watches them getting beaten up by Rudra.
These are characters we’re supposed to root for? Really?
(MAJOR SPOILERS – Revelation)
On top of that is the abrupt revelation sprung on us that they’re half-siblings, without prior clues or interaction between Rudra’s dad and Akshara’s mum; not to mention the salacious, scandalous nature of it.
Also, everything is played with deadly seriousness and solemnity throughout, including the background score.
(END SPOILERS)
Are the filmmakers really surprised at audience members reacting with derision?
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dialecticdisco
October 9, 2017
The climax has been changed to make it even more terrible . Suhasini sits down to explain the issue and suddenly the scene shifts to DQ giving a namaskaram to the groom. Makes no sense whatsoever!!
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harish ram
October 10, 2017
@mrinalnarayan: thank you for bringing Premam twist here. IMO, this again validates the point many are making here that the execution was the culprit rather than the concept. If I have to dig deeper, I would say the director’s sensibilities are that of a feature film. In this shorter version, that got sacrificed and hence the final output.
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phaneendra201
October 11, 2017
Is this movie released in Hyderabad with subtitles
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raincoffeemovie
October 11, 2017
@dialecticdisco – seriously? Suhasini doesn’t actually tell anything and then sudden cut to the namaskaram? What abt the Nasser – DQ exchange? Is it there in the new ending?
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mrinalnarayan
October 12, 2017
@raincoffeemovie Nasser-DQ exchange without Suhasini telling anything won’t fit either.. Think they must have removed the whole twist.. LOL!!
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Senthil S
October 15, 2017
Just watched the movie. It’s late, but I loved it. I thought it was incredibly obvious that the last story was meant to be comedic. I mean, the army gang treating the wedding as a mission, the groom’s beaming beat up face during the wedding sequence, and the lines. As Rangan says, there is genuine amusement during the delivery of these lines. My personal favorite exchange(translated to english):
DQ: Does anyone else know about this?
Suhasini: No. Except Bhama’s mother. And her sister. Her father might know too.
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phaneendra201
October 15, 2017
I also watched yesterday. I was moved by the emotional scenes. Particularly climax of third story. Brother of Shiva running and we have shown Deepavali celebrations of their family. I really want another movie from Bejoy which has backstory of Shiva’s life in detail.
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