Prithviraj effectively oscillates between innocence and mischief, particularly in the first half. I also felt they did something interesting with Ray, the blind (or not?) pianist who shows up at the wrong place, at the wrong time.

The culprits are straight out of film-noir. Having said that, Bhramam manages to be a half-decent remake simply because the actors, including Mamta, get it right in some places. But the funny thing is he sometimes acts like a TikTok star too. At one point, Ray Mathews (Prithviraj) calls Simi a 'TikTok heroine'.

This Simi feels like the TikTok version in comparison.

The Simi in Andhadhun (played by the unmatchable, irreplaceable Tabu) seemed more complex than she lets on. The characters in Bhramam seem to have been rehearsing their reactions to situations that they have already foreseen. In Andhadhun, the characters behaved as if every event in the film is happening for the first time. It's like taking part in a musical chair where everyone is always seated. Even a versatile composer like Jakes Bejoy can only do so much in a film confused about where to place his music. I remember being incredibly relaxed while watching Andhadhun for the first time on the big screen because it was staged and edited in a way that kept you thoroughly invested in the storytelling.īhramam, on the other hand, have areas that test one's patience. Everything worked like the beats of a piece of great classical music - piano, in this case. There was no attempt from one to overshadow the other. The acting and storytelling operated in perfect synchronicity. But what worked in that film's favour is how all the actors managed to keep their performances restrained, even when they were required to get whacky. It was more about the plot, and the actors were there to service it and not have their performances take all the limelight. Let's admit that Andhadhun was not an acting exercise.

B tech malayalam movie review