Reputed film critics want films made from the heart, realistic ones, something one can actually relate to sans all the melo-drama, over the top action and all and still cater to a large audience. Now, there has always been talk if this actually possible at all? One of those critics, Sudhish Kamath, goes a step ahead, decides to show you how, tells you it can be done.
GNGM is realistic, one you can relate with. Smartly enough, Sudhish sticks to his strength, witty exchanges (one should see his twitter rants with CS.Amuthan – tamil padam director, and they’d know), making a full fledged film on a phone conversation between two strangers. There’s only one other all-talking film i’ve watched – the much acclaimed 12 angry men. For an all talking film, to have the audience engaged throughout is in itself an achievement. The job becomes all the more difficult when the talking comes down to just two persons for some 80 odd minutes. GNGM manages to keep you interested.
GNGM is about a phone conversation between a romantic Turiya (Manu Narayan) struggling to get over his break-up three years after it hath happened and Moira (Seema Rahmani), an idealist, loner and depressed after a break-up, both ending up revealing more than they’d normally do, should they have had the same convo with someone they already knew, learning a lot more about themselves and finding new meaning to their lives (stranger comfort). We see it happening all on the screen during a lengthy phone conversation. 8 stages of love to put it in the film’s words. And then there’s this inception-esque ending to the film.
The film owes all its success to the screenplay, credits to Shilpa Rathnam and Sudhish Kamath. Some of the lines are just too good, staying in touch with modern times, "clear your inbox" for example. It is one thing to have a good story. It is quite another to pull it off. The cast doesn’t let the filmmaker down. Seema Rahmani, gets most of the good lines and delivers. Manu Narayan, though doesn’t match word for word with Seema on all occasions, still does a great job. And then you have Raja Sen as J.C in that “sister act” – COOOOL. The trio (Raja sen, Vasanth Santosham, Abishek D Shah) don’t have much to do in the film otherwise. Another interesting ploy that comes off good is to have replaced those “what could’ve been one sided (flashback/fictitious incidents) convo” with related spoofs and are intelligently placed ensuring that you don’t feel bored listening throughout. Liked the fact that there’s literally no music on most occasions, the interest remaining on the lead and the lead alone. To try out the whole thing in black & white, another novelty. The split screen idea warrants mention. The film has been aptly titled too. Good night – end of one phase. Good morning – starting of a new one.
Don’t get it though why the camera was so zoomed in on the male lead. For all the talk about American pop culture, though only for very few minutes in the film, how different are they from INDIA’s, atleast during new year’s eve? My point is the film could’ve been easily taken in an INDIAN location. It would’ve added to the local flavour. Bit more audience. Some local language and even larger audience. Also, reduces production cost and ensures more profit right? Maybe the film maker wanted to cater to an international audience or something. No idea there.
Nonetheless, it is a great film, proof that good realistic films, which cater to the audience are always possible. It just takes some nerve. Watch it and feel proud that INDIANS are capable of much more than just masala films, they are capable of gems like GNGM. 85/100.
P.S. don't go by the ever reliable IMDB ratings on this one. its been terribly under-rated thanks to Sudhish Kamath-Raja Sen haters.
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