One of the most exceptional characteristics about Dijo Jose Antony's Jana Gana Mana is the means by which it keeps a need to get moving all through its whole term (near three hours). It acts like a drawn out third demonstration of a tension thrill ride. At the point when it opens, a grave occasion has proactively happened. Feelings are now running high. It hangs what passes as truth before you, and for some time, you get it. However, whose variant of the fact of the matter would you say you are being sold? Is it that of the media, police, or legal counselors?
It's just when an attorney, Aravind Swaminathan (Prithviraj Sukumaran), appears in court and starts busting one 'truth' after another that your discernments start to step by step change. Jana Gana Mana resembles a Rubik's 3D square whose 'genuine' blend changes like clockwork. It follows a Rashomon-style approach to looking for reality without imitating the Akira Kurosawa exemplary's screenplay structure.
The other noteworthy quality about Jana Gana Mana is the manner by which it seems like three or four motion pictures moved into one. As each layer comes unraveled, one envisions a wide range of digressions the film can go in. I can't remember the last time a Malayalam film did that to me. (On the off chance that you're asking why I haven't referenced anything about the story yet, then, at that point, I need to let you know that I'm attempting to figure out how to compose this audit without offering any significant plot focuses.)
Jana Gana Mana unites Prithviraj and Suraj Venjaramoodu again after the enormously fruitful Driving License (as of now being changed in Hindi as Selfiee). Normally, you expect incredible things from any film including them after that. What's more, Jana Gana Mana doesn't frustrate. I couldn't say whether it would be reasonable to say whether one film is better compared to the next. The two entertainers convey what is generally anticipated of them. Their characters in Jana Gana Mana are miles from those in Driving License.
Do I have to specify Suraj's amazing reach now? The main hour is dedicated totally to Suraj's police character, Sajjan Kumar, who is doled out to contain a rough JNU-type circumstance at an enormous college in Karnataka. I'm not delving into all the spoilerish subtleties since this film is loaded with a lot of data. I would prefer the watcher approach this film the same way I did - with as little data as could really be expected.
It utilizes different picked-from-the-titles occurrences from late memory as motivations to offer puncturing expressions about numerous ills right now tormenting the country. What's more, among the contemporary whizzes, I can't imagine anybody better than Prithviraj to convey puncturing exchanges that resonate across the court dividers and everybody sitting in the film corridor.
Furthermore, Shammi Thilakan appears to have had a great time being the opponent litigator. He is, I should add, the essential wellspring of humor in the film - and I don't mean the accidental kind. Indeed, certain regions in Jana Gana Mana get somewhat dramatic and uproarious, yet for what reason would it be advisable for one to expect the energy of a Dileesh Pothan or Rajeev Ravi film from it?
Jana Gana Mana is a major scale, mass-advance performer in the vein of the political spine chillers that Renji Panicker composed for Shaji Kailas in the mid 90s for sure Dennis Joseph composed for Joshiy or Thampi Kannanthanam during the 80s. Portions of Jana Gana Mana evoked the soul of movies like Thalasthanam (1992), Bhoomiyile Rajakkanmar (1987), New Delhi (1987), and Pathram (1999).
Be that as it may, where Jana Gana Mana stands apart is the means by which, as far as the proclamations it makes, it thinks for even a second to be bolder than the above films. However much I respect the authors and movie producers of that period, I don't figure they would have resolved issues like minimization and drama to the extent that it is done here. I'm happy that we are done living during the 80s and 90s.
Toward the finish of Jana Gana Mana, we get a feeling of the characters of Aravind and Sajjan. Yet, it's not finished. The film opens up the potential outcomes of investigating more sides to them that we haven't seen previously.
We are told, through Aravind, that the story has just started. (The producers had proactively reported the spin-off plan.) This approach is invigorating on the grounds that, dissimilar to the next amazing two-parters like Baahubali, KGF, or Pushpa, Jana Gana Mana really considers being epic regarding topicality.
It is without a doubt an epic, however as far as narrating aspirations, not the visuals. The primary film got into numerous tricky situations, and I trust its replacement opens a lot more as well. Also, as an aficionado of Prithviraj and Suraj, I can hardly stand by to see what shocks they would spring in that one.
