Kalki: On Netflix

Please release it in youtube as paid 🙂

-MR

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Raghav

the poster is really beautiful!

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Karthik

I dont see this title in Netflix-USA. Is there any other service that might stream this legally for those living abroad, in the foreseeable future?

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Ko

A nice spin-off to Vertigo and Iruvar’s romantic track 😆 . Congrats.

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seshadri kannan

Sanjay Shankar (@sanjayshankar)

Quite an intriguing watch brangan. Thrilled to watch the work of a critic I’m so fond of. Loved the way your story (did you write the screenplay as well?) has been handled by the director and the cast. Kishore is such an unassuming performer. Also loved the portions where the bgm pays homage to Hans Zimmer’s soundtrack for Interstellar 🙂

SPOILERS AHEAD

I have a question – The story never tells us much about Kalki’s life before she moves to India. I may have missed the whole point here, but is her character the time traveled Radhika from the past? The story never attempts to justify Kalki’s attraction. I could all be played in a loop.

Am i right in assuming this?

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Beautiful poster! Disappointed that it’s not on Netflix in the US. I hope that changes soon.

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seshadri kannan: Thanks 🙂

So the story (the knot) is the director, Dhilip’s. I fleshed out the screenplay and dialogues.

SPOILERS AHEAD

Kalki is not Radhika. She is attracted to this man because he is a genius. The reason she doesn’t get a past (other than she is a researcher from abroad) is because the film is narrated entirely through Kishore’s POV. She does ask him – “okay, ask me about my appa, amma, poonaikutty if you want to know…” — but he’s trying to keep away, so at that point he doesn’t and then the plot kicks in and it’s not really necessary to show her past.

But yes, if someone wants to read this story as happening inside Kishore’s head, I can see that — though that might be a problem when the last scene kicks in, I think.

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KaaviyaThalagani

Just saw it so I’m still processing a lot of the production design work here, which for me worked most consistently through the piece. Lots of interesting background props in every setting, except the on-the-nose “Comeback stories” book.

My favorite bits were all in that morning scene between Kishore/Radhika as she twirled in a loosely draped saree, script in hand. Their personalities, contrasts, chemistry, the clutter everything really came together there.

It might remind one of the Narumugaye section between Anandhan/his wife but that also comes from knowing you. (I guess) Is the Mani Ratnam vibe when Kishore pours the coffee back intentional? Sollunga saar, sollunga.

I wish the same energy was carried forth throughout but looking back, I can see why that wasn’t the case.

And ooh. OCB.
And is that a Feynman hat tip in there? 😀

I had no confusion as far as Kalki/Radhika were concerned and really liked the way the final shot mimic’d an earlier photo frame of the wedding. The line “I just want to be with you Kishore” found a superb payoff when she just ruffled his hair and atleast this way, she doesn’t have to compete with the memories he has of Radhika.

I would’ve however liked to know what happened to the present day Kishore, as I was emotionally invested (most) in him. Did the script end at the same point? Also was the time machine with the emanating hazy spotlight, just this entity behind closed doors? As in, was it written this way? Pls to tell, coz I loved the idea on screen.

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Ko

@brangan , I have few doubts/criticisms relating to the movie too….

SPOILERS AHEAD

Story

You mentioned that the story is by director Dhilip. Did you ask him what is the inspiration for the plot line? Is he inspired by Vertigo/Iruvar? I am sure you would have asked him that.

Screenplay

Since you wrote the screenplay,

While writing the screenplay did you base Kalki’s characterisation on Kalpana(Jayalalitha) character in Iruvar? I am asking this since they both share similar character traits like trying to win the heart of the protagonist who is still haunted by the memories of their demised look-alike spouse.

What is your intention regarding character arc of Kishore’s character? I think that the idea is to portray his transformation from a workaholic to a loving husband with respect to Radhika’s character and loving husband to a work loving scientist who share the same passion with respect to Kalki’s character 😉 . But don’t you think he came of rather passive? I suspect that is because I saw him as a workaholic and loving husband in the movie but I didn’t see his transformation or enough of it. For me he seemed to be the weakest character in the movie. What’s your take on that?

Are you happy with the way the key moments are played out in the movie? Like the first time when Kishore and Radhika meet, library scene (what a cliche! 😦 ), when Radhika returns instead of Kalki from the time machine he asks to her “Where did you get the new dress?” (Isn’t that stupid as opposed to cute?)

5.Don’t you feel the time machine plot device came of rather abrupt in the movie. Could a setup in the earlier scenes helped that out? Also, why do Kishore says things like “He couldn’t make the time machine work after that instance and I gave up” . It make him a little stupid and weak IMHO . I hate him for saying that If he can make it once, why can’t he do it again? Who will give up on his wife? 😆

In most time machine movies lie Back to the future , When something changes in the past, the future changes along with that. I didn’t see that happening here. Is it a conscious decision? Did you guys had any plans to disappear Radhika and Kishore in the present as Kalki and Kishore join hands in the past :wink:?

One final question. It will be interesting to find out how Kishore reacts when he finds out that it is Kalki and not Radhika who returned from the time machine. Do you guys have any plans of turning this into a movie 🙂 .

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Anu Warrier

Not available on Netflix here, unfortunately. Any idea when it would be?

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Venkat Ramanan CS

March 7, 2018

Just saw the film on Netflix. I will write my opinions out in points.

The film helms around a Scientist played by Kishore. We are told he is a genius, we see him write equation, type code and do things that I guess scientists do. Yet it feels hard to buy him as a scientist. Despite the tonne of detailing WE NEVER GET A SCENE OR GLIMPSE INTO HIS GENIUS BRAIN AT WORK, something that could have helped suspend the disbelief.

Loved the period detailing, especially that Siemens ad popping out from the cupboard.

Same applies to the actress, we are told she does acting, but never see her in action, which makes it hard to root for her conflict.

Again same goes to the research student. We are told she is more than a student but never see their interaction GROWING into something more, despite the obvious reason that she is identical.

-The artsy lit cinematography, which is aesthetic but feels distant, the rooms feel like some studio rather the HOME of a genius.

The only moment which evokes any feeling is the climax plot twist in an otherwise cold film.

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March 13, 2018

SPOILERS AHEAD

KaaviyaThalagani: I would’ve however liked to know what happened to the present day Kishore

He ends up with Radhika (from all those years ago). Is that what you are asking?

Ko: No, I wasn’t (consciously) thinking of Iruvar at all — though I guess it is a similarity, now that I think back.

Don’t you feel the time machine plot device came of rather abrupt in the movie.

I saw it as a slice of time in these people’s lives. The reveal is through Kalki. When she finds out about it is when we find out about it. I didn’t feel the need for a “setup”.

Venkat Ramanan CS: This is a chapter from their lives. So there is an automatic buy-in of certain things — like she is in love, or like he is a scientist. I didn’t feel these things had to be proved.

The artsy lit cinematography, which is aesthetic but feels distant, the rooms feel like some studio rather the HOME of a genius.

Then, please do not see Wong Kar-Wai’s films 🙂 They are very artily lit and won’t look like “homes” either. Seriously though, the artsy/eerie lighting is a visual clue that the story is in this is “non-normal” zone, which is soon proved true by the time machine.

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KaaviyaThalagani

Haha. He ends up back with his wife, sure. But is it really so simple?

If his past ended up with Kalki and he assumed she was Radhika, doesn’t that completely alter his present day life? The entire timeline of the present day story would be different,right?

The memory of his wife gone missing and all these years of solitude before Kalki would be wiped out, now that his past has changed.

So what happens to present day Kishore?

Does he age with Kalki (as Radhika) from the past or do his memories remain intact of both women (in the present) and so does he just have to update his wife with all the years she’s missed?

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KaaviyaThalagani: That’s being too literal. A short film is like a short story. A chapter that’s somewhat self-complete but not fully so. A feature film, on the other hand, might incorporate these “logical” questions. Here, I (and the director) just wasn’t interested. Instead of us showing you the answers to your questions, more fun to imagine them, no?

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Andha Innoru Vazhappazham.

For a story about a scientist, there sure are leaps of logic in this story. I agree with most of the comments. How can we just be asked to forget about Old-Kishore, with whom our feelings lie?

The way Kalki travelled back in time makes sense emotionally with respect to her character, (I guess the film is named after her) but Radhika coming back to Old Kishore out of the blue with no change in appearance didn’t sit well with me at all. WTF territory.

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KaaviyaThalagani

Fair enough. Thank you 🙂

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http://www.filmcompanion.in/berlin-diary-10-dark-lives-low-key-sci-fi-india-1920s/

KaaviyaThalagani: BTW, that comment was just to explain my POV while writing. Not to make you buy it. If it didn’t work for you, then it didn’t 😀

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lakshmi

March 18, 2018

The ending reminded me of your note in Berlin Diary about the movie Watashitachi no Ie (Our House), and I was imagining how similar “as though in a parallel dimension” spooky things could happen in this house. What’s more, Kalki will be the only person who knows what’s happening. 😀

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Aparna

March 21, 2018

Just watched the movie. Some of my thoughts – it was quite interesting to hide the time machine within the bathroom and not show a glimpse of it, as most movies which function within the sci-fi genre have to show some clunky machine to solidify an abstract concept like time travel. The appearance of the the white smoke and flashing white lights (like a portal opening into heaven) almost impart a supernatural feel to the climax which glossed some of the other logical loopholes that usually arise with time travel. On another note, the entire Kalki/Radhika arc gave rise to many possible theories as the movie played out: for instance at one point, I thought that Radhika traveled back in time to appear as Kalki and somehow felt herself gravitating towards Kishore like her previous incarnation. More so throughout the movie, there was a feeling that the entire story was constructed in Kishore’s head, as Kalki or Radhika are never seen interacting with anyone, with the exception of Kishore. Love it when a movie can keep you guessing.

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Drunken Monkey

March 23, 2018

@kaaviyaThalagani: If his past ended up with Kalki and he assumed she was Radhika, doesn’t that completely alter his present day life? The entire timeline of the present day story would be different,right?

Speaking about logic…if the film is watched with Multiverse theory as the logic it deals with, the whole question of ‘wouldn’t kishore’s memory be wiped out?’ question may not arise I guess.

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radhekrishna2011

March 29, 2018

Its available in US Netflix now.

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Rocky

October 2, 2018

Netflix has added some much awaited movies today like Kaminey, Kurbaan, Jagga Jasoos, Dev D, Delhi -6.

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Vidya Ramesh

Finally watched Kalki Mr BR..i liked it. I read the ending as both Kalki and Radhika ending up with the version of Kishore they wanted, as in Kalki wanted the mad scientist with crazy hair and Radhika wanted him to take up a college job which he does and she comes back to that..no? Or am I reading something that’s not there ?

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Vidya Ramesh: Yes, that is exactly it 😀

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Kid

Spoilers ahead-

The great thing about the climactic twist (and I think this is a bit of screenwriting genius) that while the twist involving the time machine is huge in itself, it is normalised in the world of the film (even while the film and its characters consider it a huge scientific breakthrough) ..in the sense that the twist is handled in such a way that the film seems to be telling us that this bit is very much a part of its regular, everyday world and the audience should have expected it all along. This is less a Hitchcockian twist (in the way it plays out..here the director handled it in a a Rathnam-like lyrical way..almost a halfway-house between the quotidian world of Primer to the almost operatic one of Inception. And the domestic scenes are pure Rathnam..there is lightness of touch and easy realism but the camera, like in Ratnam’s, is always ready to catch a moment of “wonder”. This is realism but without the drabness associated with word) than a French cinema one (especially something like Chalonge’s “L’Alliance” which I kept thinking about while watching the film not the least because it also involves a couple. Probably even Ferran’s “Bird People”), so even the twist is huge there is less a feeling of dread and shock but more a pleasant surprise and “relief” (has almost calming feeling to it). So the “machine” working is a huge “revelation” in the film’s world but what happens because of it (the characters travelling to respective time periods/timelines/world) almost seems pre-ordained (this is very L’Alliance informs the film…as if the machine didn’t work because of Kishore’s work and intelligence but because of what him and other characters desperately “wanted”..also loved it how gently it played with the so-called rules of time-travel/free-will conundrum. This is as much a “normalised, romantic fantasia” (as a contrapuntal genre-description if any and again a very French style) as it is a “time-travel” film. It is also course a memory-piece as well (but memory in itself every man personal “time-machine)”. And Kalki follows the style of best of French genre films- Pepe Le Moko as a gangster film or number of Dassin’s heist films or Duvivier’s noirs or Clouzot’s suspense works or Demy’s musicals or Melville’s work and so on and so forth- which were neither completely submissive to the rules of the genre nor were they trying to subvert genre for the sake of it, but were essentially “romancing” with them; they would sometimes throw a sly wink at the genre while also tipping their hat to it as and when they recognised the genre’s inherent strengths, they were playful while being respectful. And even the most “muscular” of French genre films- polars/policiers et al- were often gentler in handling the most preposterous twists than their American counterparts. Even a contemporary director like Ozon- I am thinking of Swimming Pool or the very early See The Sea- is example of this). It is telling that not much is shown of the time machine and one hardly knows how Kishore has built it (the entire Physics of it is pretty much absent. Let’s just say that this isn’t Carruth’s “Primer”), this effectively does two things..one it renders the world almost normal and almost simultaneously, but in a contrapuntal manner, makes the time-machine a “deux ex machina” device of sorts which is there less as a great discovery of science but more as a conduit for the lovers to unite (Yasmin Ponnappa is fantastic, in fact after this and Aaranya Kaandam I wouldn’t mind if some one does a loose remake of one of Chabrol’s films with her.. she seems to have a domestic yet French star-actress like persona which is completely unique to Tamil cinema. Just imagine how she would act out the opening scene of La Rupture. She is the kind of actor who almost seems to hold something in reserve). I don’t want to oversell the film by any means and it is hardly some kind of deep film or a ground breaking experiment; in fact it is the other way round, that to the director and BR’s credit they have managed to make a “minor film” from what is seemingly a major sci-fi, twist-heavy plot. This is a film whose pleasures are, more often than not, accidental, and they often steal up on you.

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Vidya Ramesh

😀 it made me think about what one falls in “love ” with really..the version that one likes or the version they really are. It’s a strangely satisfying ending like a good short story has. Great stuff!

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