Garuda Gamana Vrishabha Vahana
Garuda Gamana Vrishabha Vahana takes some really brilliant writing and production to keep your eyes on the screen for 151 minutes. Garuda Gamana Vrishabha Vahana is directed and written by Raj B Shetty (Shiva), Rishab Shetty (Hari) and Gopal Krishna Deshpande (Gopal Krishna Deshpande), and presented by Paramvah Pictures by Rakshit Shetty, Does Just That (Brahmayya). With Ondu Motteya Kathe in 2017 and now, writer-director-actor Raj has proven to be a valuable talent for the film Kannada. Music director Midhun Mukundan, whose background music is evocative, and editor and cinematographer Praveen Shriyan, whose camera follows every minor road in Mangaluru with moss-lined compounds and accompanies you, add even more luster. at his work. Its framing is beautiful, and it frames the subject perfectly. You are going to embark on some choppy gangster drama after seeing this clip of Shiva and his boots.
Garuda Gamana Vrishabha Vahana appears to be about two strange friends and their brotherhood even though they rule vast swathes of Mangaluru with an iron fist from small lanes, but he offers a bigger floor – of loyalty, good and evil, and this thing called karma. If Rishab plays Hari with a cold air – his lips smile even as his mind plots and his eyes are freezing cold – Raj’s Shiva is one of the most magnificent figures to have seen on screen in recent years. He’s fierce and loyal to the extreme, but he’s equally passionate about cricket and the boys he plays with. He is Shiva Anna to them. The final piece of the puzzle, Garuda Gamana Vrishabha Vahana, is moved by this intrinsic love for him.
Raj uses body language rather than words to communicate the new relationship dynamics, as he would in real life. Hari’s eyes immediately follow Shiva … oh, to be admired that way!
The story is told by Brahmayya, a police officer who is transferred to Mangaluru after arguing with his daughter while on duty. He is greeted warmly by two friends who were selling snacks before being forced to discover that there is money to be made by being criminals. He’s scared at first, but when he’s pushed into a corner, he hatches a plan for revenge. This scenario with the driver is very well written – the power equations change in seconds, a humanity emerges, and outward respect gives way to genuine respect.
Shiva and Hari live in a male world devoid of women. Hari’s mother, who met Shiva while cutting fish for lunch, is the only woman you see. In some ways, it’s reassuring that women aren’t just there to serve as props. Hari one bloody day realizes how much Shiva cares about him and what fury is inside him, as the boys play and work together, and a stoic Shiva is continually harassed by the world.
Conflicts inevitably arise. The decisions that are the most life changing can sometimes seem like the smallest. When Ravi Anna, who runs a betting union, comes into their lives, that’s how it is. Hari transferred the same fond expression he gave Shiva to someone else. And their life will never be the same. Hari’s walk changes, his lifestyle changes and he moves away from the world he shared with Shiva and his sons.
Raj Shetty is a physically demanding artist. As a result, Shiva’s stillness, excitement, disappointment and sense of betrayal comes to us through his eyes rather than his words. Raj can retire, occupy a window sill while creating the impression of extra space. He can then expand and fill the full screen while doing a fierce pili vesha, or tiger dance, the next minute. Unless something makes him react, his face is a blank canvas. When on the cricket pitch, he is one of the older players who refuses to take wide open or constantly criticizes other players, often using profanity. His favorite Kishore Kumar is the butt of his taunts, and when something bad happens to him, Shiva breaks down. The background score that matches his uncertainty elevates that stretch on the steps of Kadri’s temple, when his mind absorbs what Hari has become. It’s almost like you’re glad this movie hit the big screen. It deserves a theatrical release.
The Garuda Gamana Vrishabha Vahana subtitles are excellent, conveying the general feel of Mangaluru Kannada and the little Tulu heard. If you are a local, Jeppu, Mangaladevi and Kadri are not just names; these are places that you have visited and passed through. Pili vesha is an emotion that strangers can try to understand but never really understand. It is life itself here. The audience in the room where I watched the film booed because of the geographic and linguistic proximity. In the same way that Ondu Motteya Kathe of Raj succeeded.
There are more and more killings in this Mafia image, yet Praveen’s visuals have a certain poetry about them. Even though there isn’t a lot of gore, the fear is palpable. Saying that a photo of a person’s feet can make you feel uncomfortable! Look for the scene near the paan store, where the crimson and green, as well as the gray of the ground, unexpectedly collide.
The film, to its credit, does not seek to glorify violence. Everything is done in a pragmatic way, either out of necessity or to stay alive. However, in the end, the film is about how loyalty trumps power. And there is something to be said about the cycle of violence and how it is still paying the price. And it’s funny how you always end up going back to where they started. Like the story of Hari and Shiva, the creator and destroyer, who are forever linked by their actions and possessions.
Garuda Gamana Vrishabha Vahana
Cast: Raj B Shetty, Rishab Shetty, Gopalkrishna Deshpande
Director: Raj B Shetty
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