It’s a sad fact of the world we live in that some people will not be able to accept a DJ as the hero in a conventional narrative. And Shiva (Ranbir Kapoor), though he has a path ahead of him to learn how to be a hero, is a pretty good DJ. He’s got a flair for structuring dramatic builds and drops, and he absolutely understands both the interplay between sound and light and the spiritual side of getting buck at The Club.
It’s after a pair of Brahmāstra: Part One — Shiva's establishing sequences — one animated to set the cosmic stage, the other an action throwdown (with Shah Rukh Khan as a scientist who also wields the Supreme Monkey Weapon) — that we get to know Shiva as he has a hallucinatory awakening in the midst of a community celebration that becomes a rave and elemental battle. Brahmāstra: Part One — Shiva, the film and the concept and the media empire, wants to dazzle the viewer, and it’s in this magnificent segment of the film, “Dance Ka Bhoot,” where Kapoor and hundreds of dancers craft something truly unforgettable, especially in 3D — so take that extra step.
This is the first release from Star Studios (formerly 20th Century Fox India) since Disney took over, and it’s hard not to see this on the same playing field as the Marvel superhero epics we’ve gotten this year. Director Ayan Mukerji manages to craft a big, universe-shaking epic that doesn’t feel exactly like everything else out there. I brought along a friend who’d never seen any Indian cinema before but who loves a big spectacle, and they were bowled over. (Next step: getting them to watch RRR, which also features Brahmāstra’s romantic lead Alia Bhatt, who is an anchor of emotional resonance for the audience.)
There’s a lot of energy-beam fights to be had here, as well as ancient societies and secrets concealed in unstable objects that can only be opened by blood. And truthfully, if you’re tired of superhero spectacle, this may not be for you, because even in Hindi, the marketplace demands its tribute. But just as likely, this film can be a great introduction to the many joys of all the Indian cinemas. Kapoor and Bhatt, married off screen, do a remarkable job of bringing that chemistry to the screen, keeping the viewer invested in their getting to know each other even when nothing’s being set on fire and no one is chasing them at that moment. Also, and this is something that shouldn’t have to be said, but movies are more fun when they’re colorful and fun to look at. The cinematography team does a great job of keeping things vibrant and striking, and it makes such a difference when compared to how much contemporary film wants to see how little light and exposure they can use in depicting a scene.
The second half of the film (itself part one of a trilogy, because some aspects of the exhibition game are the same everywhere on the planet) becomes a bit more conventional as far as revealing ancient secrets and training montages and the escalation of stakes, but it also has rightfully revered superstar Amitabh Bachchan as the Professor X/Yoda analog and a profoundly expansive and cosmic bent. It’s not often that a film can bring to mind Infinity War and Melancholia at the same time, so take your visual pleasures where you can. Also, anyone looking for the perfect Halloween costume for themselves and two friends should check out Mouni Roy’s character Junoon and her two henchmen Zor and Raftaar, because they are absolutely the Ursa, General Zod and Non of the 2020s; amazing goth trio vibes.
It’s no RRR, but few films ever could be. If you’re chasing the rush of visual spectacle with some real emotional heft and a sense of genuine conviction when it comes to doing a Krull and turning love into fire-based projectiles, Brahmāstra is a fun enough way to spend three hours at the multiplex. Count me in for Part Two — Dev whenever it turns up.
