The intention behind the making of Brahmastra was for it to be huge. The film is led by two of the biggest actors in Bollywood, with a soundtrack by Pritam sung by Arijit Singh, a Shah Rukh Khan cameo, high quality VFX, a budget of 410 crores, and took at least five years to make. However, none of that can make up for the most important part of a movie: the story.
This film attempts to build the world of the Astraverse, using Ranbir Kapoor as Shiva to reel us in. Shiva has a complicated relationship with fire which starts to make sense when he begins having strange visions of seemingly superhuman people being attacked in the name of a godlike force– Brahmastra. Through these visions and an untangling of his inner self with the help of his love interest Isha, played by Alia Bhatt, he claims his life’s purpose to use his superpowers as well as the power of love for the greater good.
The story itself has potential but its execution is poor. The only thing that makes these characters interesting are the actors that play them, and considering one of them is unarguably one of India’s greatest talents, she is reduced to being a rich pretty girl that Shiva randomly falls in love with at first sight. Isha supports Shiva in fulfilling his purpose and saving the world but that’s all she’s good for.
Sure, the movie’s not about her but based on the trailer, promotions, and the fact that she’s played by Alia Bhatt–you would think her character would be distinct in some way or another. Being committed to a man you just met so far as risking your life for him is not a very individual or admirable quality.
Isha does however have one of the only purposefully funny lines in the movie while the rest of the laughs slip out because of how bad the writing is. This is where it becomes evident that a story can be good but the screenplay presents the true test of whether the film has the power to make viewers care, invest, and connect.
Using high emotional stakes to elicit genuine emotional investment from the audience is especially important in a film that comes from a long line of Indian Tradition: the masala blockbuster.
Telugu film, RRR, uses a similar formula of having a vetted director (S.S. Rajamouli of Baahubali) and actors (Jr. NTR, Ram Charan, Alia Bhatt, and Ajay Devgn), a huge budget, intense VFX, and a larger than life story full of dramatic action sequences, songs, and writing–but the execution of RRR is far better than that of Brahmastra.
Both films take inspiration from hindu mythology but RRR’s use of these ancient stories feel more embodied where Brahmastra can feel gimmicky. While Alia Bhatt only plays a small role in RRR, her character exercises her autonomy to help move the film forward in pivotal moments–her minimal screen time doesn’t diminish her significance nor does it take attention away from the development of the plot, purely for the sake of her presence.
The big masala blockbuster is hard to get right, especially when hoping for an international audience. They are highly emotional to the point of being melodramatic, have plot twists at every turn, often use overdone plotlines, and are at least two and half hours long–but these are staples of Indian cinema.
As someone who grew up watching and appreciating them, I know going into one that I’m going to have to suspend myself from reality and completely buy into whatever they’re feeding me. While a masterfully made seven course meal can build anticipation and excitement with every new flavor, one that is poorly done can leave you feeling overstuffed and regretful.
Instead of making you hyper aware of the illogical absurdities of the movie in front of you, these movies should make you want to let go of all that is real and marvel at the world that is being built before you.
Movies made to be edge of your seat entertainment are more than just an escape–when done right, they are just as imaginative as the ones that prompt you to look inward and when done really right, they can accomplish both.
RRR leaves you in awe of its wildly impressive stunts and intricate plot as much as it leaves you thinking about unity and strength under the horrors of colonization. Brahmastra on the other hand, left me wondering how the people behind my favorite story of love and friendship have somehow ended up disappointing me. Let me know if you’d like to watch Yeh Jawaani Hai Deewani with me for the tenth time.
Currently Watching:
- Sheng Wang: Sweet and Juicy (Netflix)
- Chef’s Table: Pizza (Netflix)
Currently Reading
- Carrie Soto is Back by Taylor Jenkins Reid
- Any academic text that may be helpful in writing my rationale
