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Jana Gana Mana good political crime thriller inspired from real-life incidents can feast on , that teaches you to think, question, challenge and more as a common man who consumes news at its face value.

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webExclusive Report --> സിസ്റ്റത്തിന് കയ്യടിക്കുന്ന സമൂഹത്തിനു വേണ്ടി: ‘ജന ഗണ മന’ റിവ്യൂ

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‘ഒരു പട്ടിയെ കൊന്നാൽ മനുഷ്യൻ ചോദിക്കാനെത്തുന്ന ഈ നാട്ടിൽ മനുഷ്യനെ കൊന്നാൽ ചോദിക്കാൻ ഒരു പട്ടി പോലും വരില്ലെന്ന വിശ്വാസമാണ് നമ്മുടെ നാട്ടിലെ രാഷ്ട്രീയ അവബോധം’. ‘നോട്ട് നിരോധിച്ചു,  ഇനി വോട്ട് നിരോധിച്ചാലും ഒന്നും സംഭവിക്കാന്‍ പോകുന്നില്ല, കാരണം ഇവിടെ ചോദ്യം ചോദിക്കുന്നവരെ നിശബ്ധരാക്കുകയാണ്.’ തൊട്ടാൽ പൊള്ളുന്ന പ്രമേയം, ഈ കാലഘട്ടത്തിൽ ഉയർത്തേണ്ട ചില പ്രധാന ചോദ്യങ്ങൾ, ഉറപ്പിച്ച് പറയേണ്ട ചില പ്രസ്താവനകൾ. സിസ്റ്റത്തിന് കയ്യടിക്കുന്ന സമൂഹത്തിനു വേണ്ടിയുള്ള  സിനിമ. അതാണ് ജന ഗണ മന. 

ബെംഗളൂരില്‍ ഒരു കോളജിലെ അധ്യാപിക ക്രൂരമായി കൊല്ലപ്പെടുന്നതും തുടർന്ന് കോളജിൽ ഉണ്ടാകുന്ന പ്രക്ഷോഭങ്ങളിലൂടെയുമാണ് ജനഗണമനയുടെ തുടക്കം. ബലാൽസംഗം ചെയ്യപ്പെട്ട് തീകൊളുത്തി കൊല്ലപ്പെട്ട തങ്ങളുടെ അധ്യാപികയുടെ മരണത്തിന് കാരണക്കാരായവരെ നിയമത്തിനു മുന്നിൽ കൊണ്ടുവരാനും അവർക്ക് തക്കതായ ശിക്ഷ ഉറപ്പാക്കാനുമായാണ് വിദ്യാർഥികളുടെ സമരം. ഈ കേസ് അന്വേഷണത്തിനെത്തുന്നത് മലയാളിയായ സജ്ജൻ കുമാർ എന്ന പൊലീസ് ഉദ്യോഗസ്ഥനാണ്. സജ്ജന്റെ കേസ് അന്വേഷണത്തിലൂടെയും തുടർന്നുണ്ടാവുന്ന സംഭവങ്ങളിലൂടെയുമാണ് ജനഗണമനയുടെ കഥ മുന്നോട്ട് പോവുന്നത്.

ഇന്ത്യയിൽ കഴിഞ്ഞ കുറച്ച് വർഷങ്ങളിൽ നടന്ന പല സംഭവങ്ങളെയും സാഹചര്യങ്ങളെയും ആസ്പദമാക്കിയാണ് ചിത്രത്തിന്റെ തിരക്കഥ രൂപപ്പെടുത്തിയിരിക്കുന്നത്. ശക്തമായ അടിത്തറയിൽ ഉരുത്തിരിഞ്ഞ പ്ലോട്ടുകളെ അതിന്റെ ഗൗരവം ഒട്ടും ചോരാതെ തന്നെ സ്ക്രീനിലെത്തിക്കാൻ സംവിധായകനും സാധിച്ചിട്ടിട്ടുണ്ട്. കെട്ടുറപ്പുള്ള തിരക്കഥയും പൃഥ്വിരാജിന്റെയും സുരാജിന്റെയും മികച്ച പ്രകടനങ്ങളും കൊണ്ട് മുന്നോട്ടുപോകുന്ന ത്രില്ലറാണ് ജന ഗണ മന. ആർക്കും പ്രവചിക്കാനാവാത്ത രീതിയിൽ മുന്നോട്ടു പോവുന്ന കഥ പ്രേക്ഷകരിൽ ഉദ്വേഗം ജനിപ്പിക്കും.

സിനിമയിലേക്കും കഥാപാത്രങ്ങളിലേക്കും പ്ലേസ് ചെയ്ത് തിരക്കഥയെ അങ്ങേയറ്റം ക്രെഡിബിൾ ആയി, എന്നാലൊട്ടും സിനിമാറ്റിക് എലമെന്റ്സ് ചോരാതെ തന്നെ അതവതരിപ്പിക്കാൻ ഡിജോ ജോസിന് സാധിച്ചിട്ടുണ്ട്. പൊതുബോധത്തിൽ അങ്ങേയറ്റം വേരിറങ്ങിയ മരവിച്ചുപോയ മിഥ്യാധാരണകൾ തച്ചുടയ്ക്കുന്നതാണ് ഇൗ ചിത്രം. സമൂഹം കയ്യടിക്കുന്നത് പലപ്പോഴും ആർക്കു വേണ്ടിയും എന്തിനു വേണ്ടിയുമുള്ളതാണെന്ന് പ്രേക്ഷകർ പുനർചിന്തിക്കും. സാധാരണക്കാരനായ പൗരൻ നീതിന്യായ വ്യവസ്ഥയോട് ചോദിക്കാൻ ആഗ്രഹിക്കുന്ന പല ചോദ്യങ്ങളും ജന‌ ഗണ മന ചോദിച്ചുകൊണ്ടേയിരിക്കുന്നു. നായകനും വില്ലനുമല്ല, വ്യവസ്ഥിതികളാൽ പരുവപ്പെട്ട രണ്ടു മനുഷ്യരുടെ ജീവിതമാണ് ചിത്രത്തിലൂടെ തുറന്നുകാണിക്കുന്നത്. 

സജ്ജൻ കുമാർ എന്ന പൊലീസ് ഉദ്യോഗസ്ഥനെ വളരെ കയ്യടക്കത്തോടെയാണ് സുരാജ് അവതരിപ്പിച്ചിരിക്കുന്നത്. ആദ്യ പകുതി കൊണ്ടുപോകുന്നത് സുരാജ് ഒറ്റയ്ക്കാണ്. ഇടവേളയ്ക്കു തൊട്ടുമുമ്പാണ് പൃഥ്വിരാജിന്റെ വരവ്. അരവിന്ദ് സ്വാമിനാഥൻ എന്ന കഥാപാത്രമായി പൃഥ്വി എത്തുന്നു. സ്ക്രീനിൽ ആളിക്കത്തുന്ന പ്രകടനമാണ് പൃഥ്വിയുടേത്. വിൻസി അലോഷ്യസ് ആണ് പ്രകടനം കൊണ്ട് കയ്യടി നേടുന്ന മറ്റൊരാൾ. വില്ലൻ കഥാപാത്രത്തെ അവതരിപ്പിക്കുന്ന ജി.എം. സുന്ദറും ഗംഭീര പ്രകടനം കാഴ്ചവയ്ക്കുന്നു. മംമ്ത, ശാരി, ഷമ്മി തിലകൻ എന്നിവരും തങ്ങളുടെ കഥാപാത്രങ്ങളെ മികച്ചതാക്കി. ധ്രുവൻ, വൈഷ്ണവി, ഹരികൃഷ്ണൻ, വിനോദ് സാഗർ എന്നിവരെ കൂടാതെ ഇളവരസ്, ശ്രീ ദിവ്യ, രാജാ കൃഷ്ണമൂർത്തി എന്നീ തമിഴ്താരങ്ങളും ചിത്രത്തിലെ അഭിനേതാക്കളാണ്. 

തിരഞ്ഞെടുത്തിരിക്കുന്ന പ്രമേയം കൊണ്ടും അതിനെ അവതരിപ്പിച്ചിരിക്കുന്ന വ്യത്യസ്ത കൊണ്ടും സംവിധായകനായ ഡിജോ ജോസ് ആന്റണി മികവ് തെളിയിച്ചിരിക്കുന്നു. നോണ്‍ലീനിയറായാണ് കഥ പറയുന്നത്. ഷാരിസ് മുഹമ്മദിന്റെ കരുത്തുറ്റ തിരക്കഥയും കുറിക്കുകൊള്ളുന്ന സംഭാഷണങ്ങളും ചിത്രത്തെ മറ്റൊരു തലത്തിലേക്ക് ഉയർത്തുന്നു. 

പ്രേക്ഷകന്റെ ധാരണകളെയും ബോധ്യങ്ങളെയും ശരികളെയും മാറ്റിചിന്തിപ്പിക്കുന്ന അങ്ങേയറ്റം ഇന്റലിജന്റ് ആയ എഴുത്താണ് ഷാരിസിന്റേത്. സുദീപ് ഇളമണ്ണിന്റെ ഛായാഗ്രഹണവും ശ്രീജിത്ത് സാരങിന്റെ എഡിറ്റിങും മികവു പുലർത്തി. ഒരു ത്രില്ലർ ചിത്രത്തിന്റെ മൂഡ് നിലനിർത്തി കൊണ്ടു പോവുന്നതിൽ ജേക്സ് ബിജോയുടെ പശ്ചാത്തല സംഗീതവും വിജയിച്ചു. 

ചിത്രത്തിന്റെ അവസാനത്തെ 20 മിനിറ്റ് സിനിമയുടെ രണ്ടാം ഭാഗത്തിനുള്ള ആമുഖമാണ്. ഇൗ മുഖവുരയിലേക്ക് ചിത്രം കടക്കുന്നതിനാൽ അതുവരെ പുലർത്തിപ്പോന്ന ചടുലത കുറച്ചെങ്കിലും ഒടുവിൽ കൈമോശം വരുന്നതായി കാണാം. റിയലിസ്റ്റിക്കാണ് സിനിമയെങ്കിലും ചിലയിടത്തെങ്കിലും നാടകീയതയും ശ്രദ്ധക്കുറവും ഉണ്ടാകുന്നുണ്ട്. 

ഇന്നത്തെ കാലഘട്ടത്തിൽ ജീവിക്കുന്നവർക്ക് കണക്ട് ചെയ്യാൻ കഴിയുന്ന സിനിമയാണ് ജന ഗണ മന. പ്രേക്ഷകന് പലപ്പോഴും ഇതിലെ കഥാപാത്രങ്ങളുമായി വളരെയധികം ഇഴയടുപ്പം തോന്നിപ്പോകും. കണ്ണുകൾ കൊണ്ട് നാം കാണുന്നതും അറിയുന്നതുമല്ല സത്യമെന്നും എല്ലാത്തിനുമപ്പുറം സത്യത്തിനും നീതിക്കും യാഥാർഥ്യത്തിനും മറ്റൊരു മുഖമുണ്ടെന്നും സിനിമ ബോധ്യപ്പെടുത്തി തരുന്നു. 

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'Jana Gana Mana' review: Prithviraj-starrer is an epic, high-impact political thriller

One of the most remarkable qualities about Dijo Jose Antony's Jana Gana Mana is how it maintains a sense of urgency throughout its entire duration (close to three hours). It behaves like an extended third act of a suspense thriller. When it opens, a grave event has already occurred. Emotions are already running high. It dangles what passes as truth in front of you, and for a while, you buy it. But whose version of the truth are you being sold? Is it that of the media, cops, or lawyers?

It's only when a barrister, Aravind Swaminathan (Prithviraj Sukumaran), shows up in court and starts busting one 'truth' after another that your perceptions begin to alter gradually. Jana Gana Mana is like a Rubik's cube whose 'true' combination changes every few minutes. It follows a Rashomon-style way of seeking the truth without emulating the Akira Kurosawa classic's screenplay structure.

The other impressive quality about Jana Gana Mana is how it feels like three or four movies rolled into one. As each layer comes undone, one imagines all kinds of tangents the film can go in. I can't recall the last time a Malayalam film did that to me. (If you're wondering why I haven't mentioned anything about the story yet, then I have to tell you that I'm trying to find a way to write this review without giving away any major plot points.)

Jana Gana Mana brings together Prithviraj and Suraj Venjaramoodu again after the immensely successful Driving Licence (currently being remade in Hindi as Selfiee). Naturally, you expect great things from any film involving them after that. And Jana Gana Mana doesn't disappoint. I don't know if it would be fair to say whether one film is better than the other. Both actors deliver what is expected of them. Their characters in Jana Gana Mana are miles apart from those in Driving Licence.

Do I need to mention Suraj's impressive range at this point? The first hour is devoted entirely to Suraj's police character, Sajjan Kumar, who is assigned to contain a violent JNU-type situation at a large university in Karnataka. I'm not going into all the spoilerish details because this movie is packed with plenty of information. I would rather the viewer approach this film the same way I did - with as little information as possible.

It uses various picked-from-the-headlines incidents from recent memory as inspirations to make piercing statements about many ills currently plaguing the country. And among the contemporary superstars, I can't think of anyone better than Prithviraj to deliver piercing dialogues that reverberate across the courtroom walls and everyone sitting in the movie hall.

And Shammi Thilakan seems to have had much fun being the rival litigator. He is, I must add, the primary source of humour in the film - and I don't mean the unintentional kind. Yes, certain areas in Jana Gana Mana get slightly theatrical and loud, but why should one expect the vibe of a Dileesh Pothan or Rajeev Ravi film from it?

Jana Gana Mana is a big-scale, mass-appeal entertainer in the vein of the political thrillers that Renji Panicker wrote for Shaji Kailas in the early 90s or what Dennis Joseph wrote for Joshiy or Thampi Kannanthanam in the 80s. Parts of Jana Gana Mana evoked the spirit of films like Thalasthanam (1992), Bhoomiyile Rajakkanmar (1987), New Delhi (1987), and Pathram (1999).

But where Jana Gana Mana stands out is how, in terms of the statements it makes, it dares to be bolder than the above films. As much as I hold the writers and filmmakers of that era in high regard, I don't think they would have addressed issues like marginalisation and sensationalism to the degree that it is done here. I'm glad that we are no longer living in the 80s and 90s.

By the end of Jana Gana Mana, we get a sense of the personalities of Aravind and Sajjan. But it's not over. The film opens up the possibilities of exploring more sides to them that we haven't seen before.

We are told, through Aravind, that the story has only begun. (The makers had already announced the sequel plan.) This approach is refreshing because, unlike the other epic two-parters like Baahubali, KGF, or Pushpa, Jana Gana Mana dares to be epic in terms of topicality.

It is indeed an epic, but in terms of storytelling ambitions, not the visuals. The first film opened many cans of worms, and I hope its successor opens many more too. And as a fan of Prithviraj and Suraj, I can't wait to see what surprises they would spring in that one.

Director: Dijo Jose Antony

Cast: Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas, Vincy Aloshious, Shari

Rating: 4/5

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Jana Gana Mana review: Prithvi, Suraj-starrer an intense thriller with a lofty message

Intriguing court scenes and power-packed dialogues always elicit audience interest in theatres. And when the scenes are handled by a director and scriptwriter who know their craft, the movie gets an edge.

'Jana Gana Mana' directed by Dijo Jose Anthony and scripted by Sharis Mohammed, is a lofty experiment dissecting the conflict between truth and perception. Is truth always what it seems to be, does law have no place in matters of conscience and why does selective outcry happen in a society are questions that are explored in the movie. Power politics also form the crust of the film.

'Jana Gana Mana' with its mass dialogues and unexpected twists reminds us a lot of the times we live in. By touching on topics like casteism, anti-nationalism and infiltration of hooligans in college politics, the makers have tried to stay as realistic to the present day issues as possible.

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Prithviraj, who always promises to deliver a brilliant performance in every film, is seen playing a different role in the movie. Though his dialogues have been well-written, only a few sides of his story are revealed in the movie. The rest may only be answered in the sequel which was announced by the makers last month.

Suraj Venjaramoodu plays Sajan Kumar, Assistant Commissioner of Police, Karnataka, who is deputed to solve the rape and killing of a strong and socially-responsible college professor, played by Mamta Mohandas, from the Central University in Ramanagara. Suraj, who had played a motor vehicle inspector in 'Driving License' which was his earlier collaboration with Prithviraj, shines as the determined police officer with different shades in 'Jana Gana Mana'.

Though there are several sub-plots in the movie, the makers have crafted the movie deftly without leaving loose ends. However, there is a lag at certain parts but this is compensated quickly with the twists and turns in the movie.

Vincy Aloshious as the fiery Gouri does justice to her role. Shari, who plays Sabha's mother, Azhagham Perumal who plays the home minister and Shammi Thilakan also play their part convincingly. The movie has the scope to be labeled as a pan-Indian film because the issue it explores is not limited to one state, but India as a whole. The movie characters speak in Telugu, Tamil, Kannada, Hindi and English.

The shots have been brilliantly captured by Sandeep Elamon. Though there are very few songs in the movie, Jakes Bejoy has compensated it with some quality BGM. Sreejith Sarang is the editor of the film. 'Jana Gana Mana', Supriya Menon and Listen Stephen, is a delightful, must-watch movie with an intense portrayal of the present times.

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JANA GANA MANA MOVIE REVIEW CLICK TO RATE THE MOVIE

With the uproar "Inquilab Zindabad (Long live the revolution)," Jana Gana Mana, vigilante action thriller, reached theatres today. Starring Prithviraj Sukumaran, Suraj Venjaramoodu in lead roles and with Mamta Mohandas, Vincy Aloshious in important supporting roles, the film is directed by Dijo Jose Antony.

The film is written by Sharis Mohammed, edited by Sreejith Sarang, and cinematographed by Elamon. It is the first of two cinematic parts, with the end of this film setting up the events of the next installment.

Jana Gana Mana focuses on ACP Sajjan (played by Suraj Venjaramoodu), who is asked to investigate the rape and subsequent murder of a professor, Saba (Mamta Mohandas). The movie opens with Saba's burning body being discovered and the resulting student protests at Central University, Bangalore. Sajjan leads a team to investigate the case in the aftermath. The events during and after the investigation forms the crux of the story.

First off, one must appreciate Sharis Mohammed for the gripping nature of the screenplay. It is everything a thriller can be: edgy, interesting, and whistle-inducing dialogues. Mohammed has successfully weaved a compelling story using fictionalised versions of real-life events that make one give a serious thought about the world we live in.

The lack of unnecessary songs disrupting the flow of the story adds to the effect of the film. Speaking of music, Jake's Bejoy's score gives the support the screenplay needs to leave the audience at the edge of their seats. However, the same score evokes sympathy, rage and the feeling of hopelessness when the scene demands it.

Along with a tight screenplay, what carried Jana Gana Mana throughout its 2 hours and 43 minute–runtime were the actors. Suraj Venjaramoodu as a smart, determined, and helpless ACP and Prithviraj Sukumaran as a jaded, just, and limping lawyer were a marvel. Supporting cast members like Mamta, Vincy, Shari, and Ilavarasu were equally, if not more, effective with their performances.

Jana Gana Mana raises important questions about law, justice, politics, and bias but above all, the impact of sensationalized media in our country. It covers a lot of different issues and constantly keeps the audience hooked. Moreover, with some unexpected twists and extended sequences, the movie sets up for the sequel. But this is where the problem arises.

In its attempt to leave people guessing, the timeline of events becomes convoluted. Adding the confusion are all the flashbacks towards the end of the film, which takes little away from the impact the film had until then. The courtroom scene, as riveting as it was, felt drawn-out and unrealistic with back-to-back monologues but that's to be expected in a thriller like this one. And in all honesty, the monologues did have the desired impact, and ultimately Jana Gana Mana drove home all its points, so it's a win.

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

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Jana Gana Mana Review : യാഥാര്‍ഥ്യം ഏറ്റുപാടുന്ന 'ജന ഗണ മന'; റിവ്യൂ

സമകാലിക ഇന്ത്യന്‍ പശ്ചാത്തലത്തിലുള്ള ഗ്രാന്‍ഡ് നരേഷന്‍

മുദ്രാവാക്യ സ്വഭാവമുള്ള, നിലപാട് വെളിപ്പെടുത്താന്‍ കേന്ദ്ര കഥാപാത്രങ്ങളുടെ സംഭാഷണങ്ങളെ  അമിതമായി ആശ്രയിക്കുന്നവയാണ് മുഖ്യധാരാ മലയാള സിനിമയില്‍ മുന്‍പ് ശ്രദ്ധ നേടിയിട്ടുള്ള, രാഷ്ട്രീയം പശ്ചാത്തലമാക്കുന്ന പല ചിത്രങ്ങളും. എന്നാല്‍ സിനിമകള്‍ സംഭാഷണ പ്രധാനം എന്നതില്‍ നിന്ന് ദൃശ്യപ്രധാനം എന്നതിലേക്ക് ചുവടുമാറിയ സമീപകാലത്ത് നേരിട്ട് രാഷ്ട്രീയം പറയുന്ന ചിത്രങ്ങള്‍ അപൂര്‍വ്വവുമാണ്. പേരുപോലെ, രാജ്യത്തിന്‍റെ സമകാലിക സാഹചര്യങ്ങളെ തന്‍റേതായ കാഴ്ചപ്പാടില്‍ പ്രതിഫലിപ്പിക്കാനുള്ള സംവിധായകന്‍ ഡിജോ ജോസ് ആന്‍റണിയുടെ ശ്രമമാണ് ജന ​ഗണ മന (Jana Gana Mana).

ഒരു വര്‍ഷത്തിനു മുന്‍പ് പുറത്തെത്തിയ ഒരു ടീസറിലൂടെയാണ് ഈ ചിത്രം പ്രേക്ഷകശ്രദ്ധയിലേക്ക് ആദ്യം എത്തുന്നത്. നാല് മിനിറ്റിലേറെ ദൈര്‍ഘ്യമുള്ള ട്രെയ്‍ലര്‍ അടക്കം, പിന്നീടിങ്ങോട്ടെത്തിയ ചിത്രത്തിന്‍റെ പ്രൊമോഷണല്‍ മെറ്റീരിയലുകളിലൂടെ കാത്തിരിക്കുന്നതില്‍ ചില സര്‍പ്രൈസ് എലമെന്‍റുകളൊക്കെ ഉണ്ടെന്ന് അണിയറക്കാര്‍ സൂചിപ്പിച്ചിരുന്നു. എന്താണോ വാദ്​ഗാനം ചെയ്യപ്പെട്ടത് അതുതന്നെ സ്ക്രീനില്‍ തെളിയുന്ന കാഴ്ചാനുഭവമാണ് ജന ​ഗണ മന. അരവിന്ദ് സ്വാമിനാഥന്‍ എന്ന അഭിഭാഷകനാണ് പൃഥ്വിരാജിന്‍റെ കഥാപാത്രം. തുല്യ പ്രധാന്യവും കൂടുതല്‍ സ്ക്രീന്‍ ടൈമുമുള്ള സജന്‍ കുമാര്‍ എന്ന പൊലീസ് കമ്മിഷണര്‍ ആയി സുരാജ് വെഞ്ഞാറമൂടും എത്തുന്നു. വരാനിരിക്കുന്നത് നിരവധി ചുരുളുകളും പിരിവുകളുമുള്ള ഒരു കഥയാണെന്ന തോന്നലുളവാക്കിയാണ് ചിത്രത്തിന്‍റെ തുടക്കം. ഒറ്റക്കാഴ്ചയില്‍ വെളിപ്പെടാത്ത ചില ഫ്ലാഷ് ബാക്കുകളില്‍ നിന്നും ആരംഭിക്കുന്ന ചിത്രം തുടക്കത്തില്‍ ഒരു മര്‍ഡര്‍ ഇന്‍വെസ്റ്റി​ഗേഷന്‍ എന്ന തരത്തിലാണ് ഇതള്‍ വിരിക്കുന്നത്. കൊല്ലപ്പെട്ടത് വിദ്യാര്‍ഥികള്‍ക്ക് ഏറെ പ്രിയങ്കരിയായിരുന്ന ഒരു കോളെജ് അധ്യാപിക ആയതിനാല്‍ നീതി തേടി വിദ്യാര്‍ഥികള്‍ തെരുവില്‍ ഇറങ്ങുന്നു. തനിക്ക് പറയാനുള്ളത് കേവലം ഒരു കഥയല്ലെന്നും മറിച്ച് കൂടുതല്‍ ആഴത്തിലുള്ള രാഷ്ട്രീയ പ്രശ്നങ്ങളും ചോദ്യങ്ങളുമാണെന്ന സംവിധായകന്‍റെ വ്യക്തമാക്കലാണ് മുന്നോട്ട് കാണാനാവുക. വിദ്യാര്‍ഥികള്‍ക്ക് പ്രിയങ്കരിയായ ഒരു അധ്യാപികയുടെ കൊലപാതകം എന്ന ആദ്യ പ്ലോട്ടില്‍ നിന്ന് ആരംഭിച്ച്, ഒരു സെന്‍ട്രല്‍ യൂണിവേഴ്സിറ്റിയിലേക്കും അവിടെ വിദ്യാര്‍ഥികള്‍ക്കു നേരിടേണ്ടിവരുന്ന ജാതി വിവേചനം അടക്കമുള്ള വെല്ലുവിളികളെക്കുറിച്ചും പുറത്ത് പൊതുസമൂഹത്തിലും ആഴത്തില്‍ വേരോട്ടമുള്ള ജാതീയവും മതപരവുമായ മുന്‍വിധികളെക്കുറിച്ചും ഏറ്റവുമൊടുവില്‍ അടിവരയിട്ട് തെര‍ഞ്ഞെടുപ്പ് രാഷ്ട്രീയത്തിലെ പുഴുക്കുത്തുകളെക്കുറിച്ചുമൊക്കെ സംസാരിക്കുകയാണ് ഈ ചിത്രം.

വാര്‍ത്താമാധ്യമങ്ങളില്‍ നിറഞ്ഞ സമകാലിക ഇന്ത്യയാണ് ജന ​ഗണ മനയുടെ പ്ലോട്ടുകളിലും സബ് പ്ലോട്ടുകളിലുമൊക്കെ നിറയുന്നത്. എന്നാല്‍ ഒരു ഡോക്യു ഫിക്ഷന്‍ ആവുമായിരുന്ന, 2.43 മണിക്കൂര്‍ ദൈര്‍ഘ്യമുള്ള ചിത്രത്തെ ത്രില്ലടിപ്പിക്കുന്ന അനുഭവമാക്കി മാറ്റിത്തീര്‍ത്തിരിക്കുന്നത് ഷാരിസ് മുഹമ്മദിന്‍റെ മികവുറ്റ തിരക്കഥയും ഡിജോ ജോസ് ആന്‍റണിയുടെ വിഷനുമാണ്. പല സബ് പ്ലോട്ടുകളെയും ലെയറുകളെയും കൃത്യമായി അടുക്കി, പ്രേക്ഷകര്‍ക്ക് കണക്ട് ചെയ്യാന്‍ ഒരു ബുദ്ധിമുട്ടും ഉണ്ടാവാത്ത തരത്തിലാണ് ഷാരിസിന്‍റെ എഴുത്ത്. ചിത്രത്തില്‍ ആദ്യാവസാനമുള്ള വൈകാരികതയുടേതായ ഒരു ട്രാക്കിലൂടെയാണ് രചയിതാവ് ഇത് സാധിച്ചെടുത്തിരിക്കുന്നത്. 

2018ല്‍ പുറത്തെത്തിയ ക്വീന്‍ എന്ന അരങ്ങേറ്റ ചിത്രത്തിലൂടെ സര്‍പ്രൈസ് ഹിറ്റ് സ്വന്തമാക്കിയ സംവിധായകനാണ് ഡിജോ ജോസ് ആന്‍റണി. നാല് വര്‍ഷത്തിനു ശേഷം രണ്ടാം ചിത്രത്തിലേക്ക് എത്തുമ്പോള്‍ ഒരു സംവിധായകന്‍ എന്ന നിലയില്‍ ഡിജോ നേടിയ വളര്‍ച്ച അത്ഭുതപ്പെടുത്തുന്നതാണ്. രണ്ടാം ചിത്രം ചെയ്യുന്ന ഒരു സംവിധായകന്‍റേതായ ആശങ്കകളൊന്നുമില്ലാതെയാണ് ഒരു ​ഗ്രാന്‍ഡ് നരേഷന്‍ സ്ക്രീനിലെത്തിക്കാനായി അദ്ദേഹം പരിശ്രമിച്ചിരിക്കുന്നത്. ആ പരിശ്രമം വിജയിച്ചു എന്നാണ് ജന ​ഗണ മനയുടെ കാഴ്ചാനുഭവം. സാങ്കേതിക മികവാണ് എടുത്തുപറയേണ്ട മറ്റൊരു ഘടകം. യുവ ഛായാ​ഗ്രാഹകരില്‍ ശ്രദ്ധേയനായ സുദീപ് ഇളമണ്‍ ആണ് ചിത്രത്തിന്‍റെ ക്യാമറ കൈകാര്യം ചെയ്‍തിരിക്കുന്നത്. കര്‍ണ്ണാടകയാണ് സിനിമയുടെ പ്രധാന പശ്ചാത്തലമെങ്കിലും കേരളവും ലഖ്നൗവും മലേഷ്യയുമടക്കം നിരവധി ലൊക്കേഷനുകളില്‍ ചിത്രീകരിച്ച സിനിമയാണിത്. എന്നാല്‍ കാഴ്ചയുടെ തുടര്‍ച്ചയ്ക്ക് ഒരിക്കലും വിഘാതം വരുത്തുന്നില്ല സുദീപിന്‍റെ ക്യാമറ. ​ഗ്രാന്‍ഡ് സ്കെയിലില്‍ അവതരിപ്പിക്കപ്പെട്ടിരിക്കുന്ന ചിത്രത്തിന് വേറിട്ടു നില്‍ക്കുന്ന വ്യക്തിത്വം നല്‍കിയിട്ടുണ്ട് അദ്ദേഹം. സമീപകാലത്ത് ഒരു മലയാള സിനിമയില്‍ കണ്ട ഏറ്റവും മികച്ച എഡിറ്റിം​ഗും ഈ ചിത്രത്തിലേതാണ്. നിരവധി പിരിവുകളും സബ് പ്ലോട്ടുകളുമുള്ള, രണ്ടേമുക്കാല്‍ മണിക്കൂര്‍ ദൈര്‍ഘ്യമുള്ള, ​ഗൗരവമുള്ള വിഷയം സംസാരിക്കുന്ന ഒരു ചിത്രത്തെ ആസ്വാദ്യകരമായ അനുഭവമാക്കി മാറ്റിയിരിക്കുന്നതില്‍ എഡിറ്ററുടെ പങ്ക് ചെറുതല്ല.

തന്‍റെ കംഫര്‍ട്ട് സോണിലുള്ള കഥാപാത്രമല്ല പൃഥ്വിരാജിനെ സംബന്ധിച്ച് അരവിന്ദ് സ്വാമിനാഥന്‍ എന്ന അഭിഭാഷകന്‍. ഇത്രയും ഭാരമുള്ള മറ്റൊരു കഥാപാത്രത്തെ പൃഥ്വി സമീപകാലത്ത് അവതരിപ്പിച്ചിട്ടുമില്ല. അപ്പിയറന്‍സില്‍ നല്‍കിയിരിക്കുന്ന ചെറുതെങ്കിലും ഏറെ വിസിബിള്‍ ആയ ചില പ്രത്യേകതകള്‍ വെറും മോടിപിടിപ്പിക്കല്‍ ആവാതെ, ആ കഥാപാത്രത്തെ പ്രേക്ഷകരുമായി കണക്ട് ചെയ്യാന്‍ പൃഥ്വിരാജിന് ആവുന്നുണ്ട്. എന്നാല്‍ അതിനേക്കാള്‍ കോംപ്ലെക്സ് ആയ കഥാപാത്രമാണ് സുരാജിന്‍റെ കമ്മിഷണന്‍ സജിന്‍ കുമാര്‍. നായകത്വമോ വില്ലമിസമോ എന്ന് തീര്‍ച്ചയില്‍ എത്താനാവാത്ത ​ഗ്രേ ഷെയ്‍ഡ് ഉള്ള കഥാപാത്രത്തെ പതിവുപോലെ മികച്ചതാക്കിയിട്ടുണ്ട് സുരാജ്. വലിയ പ്രകടന സാധ്യത ഇല്ലെങ്കിലും പ്രധാന പ്ലോട്ടിന്‍റെ കേന്ദ്ര സ്ഥാനത്തു വരുന്ന മംമ്ത മോഹന്‍ദാസ്, അഭിഭാഷകനായി വരുന്ന ഷമ്മി തിലകന്‍, ജി എം സുന്ദര്‍, വിന്‍സി അലോഷ്യസ്, ധന്യ അനന്യ തുടങ്ങി ചിത്രത്തിലെ താരനിര്‍ണ്ണയങ്ങളും മികച്ചു നില്‍ക്കുന്നുണ്ട്.

മലയാള സിനിമ ആയിരിക്കുമ്പോള്‍ത്തന്നെ പറയുന്ന വിഷയത്തില്‍ പാന്‍- ഇന്ത്യന്‍ സ്വഭാവമുണ്ട് ചിത്രത്തിന്. ഒപ്പം കഥാപാത്രങ്ങള്‍ സംസാരിക്കുന്ന ഭാഷയിലും. മലയാളത്തിനൊപ്പം കന്നഡയും തമിഴുമൊക്കെ സംഭാഷണങ്ങള്‍ സബ് ടൈറ്റിലുകളില്ലാതെ, അതേസമയം കാഴ്ചാനുഭവത്തെ അലോസരപ്പെടുത്താതെ കടന്നുവരുന്നതും ചിത്രം പകരുന്ന കൗതുകമാണ്. റിലീസിനു മുന്‍പ് പ്ലോട്ടിനെക്കുറിച്ചോ ഏത് തരത്തിലുള്ള ചിത്രം ആണെന്നതിനെക്കുറിച്ചോ അണിയറക്കാര്‍ അധികമൊന്നും വെളിപ്പെടുത്താതിരുന്ന ചിത്രമാണ് ജന ​ഗണ മന. അത് എന്തുകൊണ്ടാണെന്ന് ചിത്രത്തിന്‍റെ കാഴ്ചാനുഭവം പറയും. ഒരു രണ്ടാം ഭാ​ഗത്തിനുള്ള പ്ലോട്ട് കൂടി പരിചയപ്പെടുത്തിക്കൊണ്ടാണ് ചിത്രം അവസാനിക്കുന്നത്. ആദ്യ ഭാ​ഗത്തിനു ലഭിക്കുന്ന സ്വീകാര്യതയെ മുന്‍നിര്‍ത്തിയാവും ഒരുപക്ഷേ ആ തീരുമാനം. വേറിട്ട പരിശ്രമങ്ങള്‍ ഉണ്ടായിക്കൊണ്ടിരിക്കുന്ന സമീപകാല മലയാള സിനിമയില്‍ ഉള്ളടക്കം കൊണ്ടും അവതരണം കൊണ്ടും ആ കൂട്ടത്തിലേക്ക് നീങ്ങിനില്‍ക്കുന്ന ചിത്രമാണ് ജന ​ഗണ മന. തിയറ്റര്‍ കാഴ്ച ആവശ്യപ്പെടുന്ന ചിത്രവും.

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Jana Gana Mana Movie Review (2022)

• Jana Gana Mana

Dijo Jose Antony's 'Jana Gana Mana' is a well-performed drama (Prithviraj Sukumaran, Suraj Venjaramoodu) about the slipperiness of truth

Jana Gana Mana Movie Cast & Crew

Dijo Jose Antony's Jana Gana Mana opens with a voiceover that says truth always triumphs. That is what we are taught to believe, right? But is that statement itself true? Because, today, aren't we surrounded by so many lies and manipulations and so much militant wokeness that the "truth" is no longer tangible. Take the case of a married woman who died while eloping with her lover. The news appears on the last page. Take the case of a college professor who is murdered. That becomes the headline. Both are women. Both are dead. But isn't there a discrimination being made based on the "assumed character" of the individual? Take another instance. Let's say we are asked who is likely to be a criminal: a  fair-complexioned, middle-class looking man vs. a dark-skinned, lower-class (and possibly oppressed-class) man? The film includes us in these situations. It points a finger at not just its bad characters but also the audience.

The audience consists of those armchair critics who become the judge and jury whenever there is a newsworthy event. The audience includes our media, which revels in sensation: whether it is Sushant Singh Rajput or Rohith Vemula. The audience includes organisations that claim to fight for a gender or class or whatever cause, but with their own agenda. The audience includes students who protest and are labelled anti-national and urban Naxals. Most of us think we are doing the right thing, but are we really? Do we have all the facts? And if we don't, are we ensuring that "truth always triumphs"?

This is a fantastic premise, and I wish Sharis Mohammed's writing and Dijo Jose Antony's direction had been equally fantastic. Both these aspects are merely functional and very broad, very A-for-apple. Adding to the feeling of being hammered on the head with the film's emotions is the huge background score by Jakes Bejoy. I don't want to complain too much, because this is an effective and very watchable movie. I am just wondering how much better things would have been if the form had matched the powerful content.

The screenplay does not know how to hold back (especially towards the end, where it tries to do too much) – but there's no denying that the writing has bern thought through. We are in 2014. We see a bit of Prithviraj's story, during what a journalist calls a "sensational case". We then move to 2019. This is another "sensational case," but this time the actor on screen is Suraj Venjaramoodu. At another point, we cut to a hospital with an ailing little girl. We see her grandfather. We are told he is in some kind of problem. But before we can find out what this problem is, we cut away to something else. This is the back-and-forth structure, and we spend a lot of time in the aftermath of the crime. We see the reactions of students, the media. We even get a politics professor who urges his students to join the nationwide protests.

In other words, everyone is convinced they know what the "truth" is – or at least, they think they are on a mission to find out what the "truth" is and punish the people responsible for the crime. And the second half becomes a courtroom drama: in other words, it is set in the actual place where the job of finding out the truth is done. Suraj is a single father. Prithviraj walks with a limp. No one is "perfect". And the facts of the case are not "perfect", either. Just like the truth is evasive in real life, the film, too, keeps pulling the rug from under our feet just as we think we know… the truth. 

Jana Gana Mana has two star performances, but because of the ultra-broad filmmaking, Suraj's subtleness fades in front of Prithviraj's sensational and very controlled flamboyance. It's not easy to play to the gallery and yet not do so in an overt fashion: Prithviraj does just that. In every scene, we sense his inner fury, and every second he is on screen, the film goes up several notches. The dialogues, the direction, the writing – everything feels better. Even the pace feels less flabby. And of course, the content is so strong that the film hits hard in the latter portions. There's a line about a Dalit sweeper. There's a passage which repeats the word "rape" and "shock". Had the whole film worked at this level, we would have had a classic, but despite my reservations, I am not complaining. This is a solid drama that makes us think about the nature of truth.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Jana Gana Mana Is A Cleverly Deceptive Political Film That Doesn’t Trade Entertainment With Its Importance

Cast: Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas, Sri Divya

Director: Dijo Jose Antony

Call it an overtly meta reading of what's essentially a simple scene, but there's something about the timing of  Jana Gana Mana 's release that made this stretch feel a lot more significant. With Sathyan Anthikad 's  Makal set to release a day later, we get a scene where Jana Gana Mana 's director Dijo Jose Antony appears as a college professor. It is set in Maharajas College and the lecture is on Indian Polity with a full strength of students in attendance. But his speech does not compliment the "good students" for attending his class. Instead, his big mass dialogue here forces them to get up from their benches and go out in protest against the murder of a professor in another state. He calls it the "practicals" of the subject he's teaching, but it feels like an event in itself with a filmmaker teaching his audience to be more political. When seen just a day before the release of an Anthikad film, it's a sign of how most makers today have rejected the apolitical stands of films like Sandesham and Priyadarshan's Cheppu to embrace full student participation. Given how the film comes back later to underscore this very point only adds to the film's cleverly deceptive writing.

Deceptive is the word one needs to keep coming back to because  Jana Gana Mana  plays this game even before the movie begins. The anti-smoking disclaimer, read out by Suraj Venjaramoodu, too is in sync with this vision. Like two sides to a coin, the film first gets you to buy into yet another argument on the benefits of encounter killing. A case is created and clues are carefully placed right through the first half to get us to align with one side of a debate, only for the carpet to be pulled from right under our feet. Like members of a jury, we're asked to take stands but the stand we end up taking only reveals our own biases. So when we're first shown a set of criminals getting captured from what looks like a colony, the deceptive writing gets us to point the finger right back at ourselves for assuming they've surely done the crime.

Such themes are explored right through the second half with several notions getting dismantled to reveal a lot about ourselves. Surprisingly, the film is fully able to hold its cards close to its chest because of its casting. What actors like Suraj and Prithviraj (the duo repeat their excellent equation from  Driving License ) have managed to do is keep their screen image wide enough to be able to accommodate any shade, which only makes the film even more engaging. All of these factors contribute a lot to what's also a film that uses several real-life events to make its political points.

It's also the engaging writing, which transforms into a courtroom drama, that separates  Jana Mana Gana  from a film like  Varthamanam . Apart from basic similarities like its college setting and students' politics, the latter felt very verbose in its attempts to counter fascism using incidents from real life. Jana Gana Mana runs the risk of becoming talkative too, but the courtroom setting gives it the context it needs to allow for this. It is also much smarter in the way it incorporates events from life. We feel this in the eery way a series of events unfurl, leading to the murder of the aforementioned teacher. It takes points from the murder of the veterinary doctor in Hyderabad to give us a context and that chilling feeling we remember from the way the accused were encountered.

The manner in which the life of a PhD student is introduced too reminds us of many faces (including Rohit Vemula's), but this is done seamlessly without any injustice to the characters in the film. These scenes present us with interesting insights into how an argument steeped in real events can help you make the larger political points without comprising on the engagement. It's like a well-written editorial in The Hindu being brought to life for a Tik-Tok audience.

In fact, the only portion that didn't do justice to the film's tight screenplay is the way it ends with a teaser of the second part. This stretched out portion is both difficult to follow with odd editing choices to reveal too much of a film that's not as interesting as the first part we've just finished watching. In what appears to only be a template revenge story, one wishes that Jana Gana Mana had just ended with a tease of a sequel. Yet as a lone standing film, Jana Gana Mana is a thoroughly engaging call to action against fascism told in the most entertaining manner.

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Jana Gana Mana (U/A) 29/Apr/2022 Action, Thriller

Critics Review

A focused and fulfilling thriller.

Though the first half clearly registers the subject and the characters involved that sets up the stage for a courtroom drama, it wasn�t tight in terms of engagement. But an engrossing second half with very minimal complaints overshadow the flaws and the end product is largely satisfying. (more)

Source: Ashwin Ram, MovieCrow

Unveiling the politics of fake encounters

The film is definitely influenced by many real-life incidents, especially the 2019 Hyderabad gang rape case and the �extrajudicial execution� that followed the incident. It shows what exactly is the problem with the police breaking the law through these actions, how each of us are conditioned to pass judgements on people merely based on how they look or what they wear, the misplaced public sentiments in favour of such executions and why they shouldn�t be celebrated� all of them, through a well-knit story. (more)

Source: Deepa soman, Times Of India

Jana Gana Mana is undistinctive, notwithstanding its brave throwaway lines and moments that made my liberal heart sit up and take notice.

The overall effect of the film is its high volume, not just in a literal sense but also in terms of its tendency to underline every point raised, through the use of its soundtrack and studied camerawork. An overly long epilogue announces a sequel to Jana Gana Mana, adding to the film's already exhausting length. (more)

Source: Anna MM, Firstpost.com

Prithviraj steals the show in this preachy and patronising political thriller

Though Jana Gana Mana poses some serious questions about casteism and how we as a society predetermine someone as a rogue or a criminal through profiling, the movie doesn't practice what it preaches. The underprivileged characters in the movie don't get their own voice or agency, but rather all such characters are shown as weak, helpless characters who either kill themselves or get killed. This makes the movie all the more pretentious. (more)

Source: Gouttham VS, Indian Express

Jana Gana Mana is a thriller that will leave you thoughtful but thoroughly entertained.

Jana Gana Mana raises important questions about law, justice, politics, and bias but above all, the impact of sensationalized media in our country. It covers a lot of different issues and constantly keeps the audience hooked. Moreover, with some unexpected twists and extended sequences, the movie sets up for the sequel. But this is where the problem arises. (more)

Source: Behindwoods Review Board, Behindwoods.com

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‘Jana Gana Mana’ movie review: Gets its politics right, not so much the execution

After a not-so-great debut in ‘queen,’ filmmaker dijo jose antony widens the scale of his ambition in his sophomore effort.

April 28, 2022 04:54 pm | Updated April 29, 2022 01:41 pm IST

A still from ‘Jana Gana Mana’

To make people question some of their deeply-rooted biases, no amount of speeches or hurling of facts and proofs at them can pay off at times. A better way to go about it might be to first appeal to their biases, and slowly start chipping it away from within. Filmmaker Dijo Jose Antony and screenwriter Sharis Mohammed go by this maxim in the film Jana Gana Mana.

In quite an interesting set-up, at the interval point, they get the audience to cheer for encounter killings — which is unfortunately quite popular in our society too — only to spend the next half showing why that whole idea is wrong. But, at least in cinema, people would like the rug being pulled from beneath their feet, which is why many ended up cheering both for the idea and the dismantling of it.

At the centre of the narrative is a University in Karnataka. The charred body of Saba (Mamta Mohandas), an outspoken professor who stands up against the administration for various issues concerning the students, is found near the highway, leading to major student protests. In scenes reminiscent of the real world, the police beat up the protesting students brutally. The trust in the police is abysmally low among the students when Sajjan Kumar (Suraj Venjaramoodu) takes charge of the investigation in a seemingly purposeful manner.

Jana Gana Mana

Director: dijo jose antony, cast: suraj venjaramoodu, prithviraj, mamta mohandas.

After a not so great debut in Queen , filmmaker Dijo Jose Antony widens the scale of his ambition in his sophomore effort. The contemporary debates in the country, around the growth of far right politics, which survives on constant stirring of the communal pot and dissemination of hate propaganda, must certainly have been playing in the screenwriter's mind while writing the film.

But despite its right intent and partly interesting structure, the making is quite uneven. Much of the treatment is loud and over-dramatic, especially the court scenes in the latter half. While it meanders pointlessly in the initial campus scenes, too much is said in quite a few rushed sequences towards the end. Much of this has to do with the mystery around Prithviraj's character, who re-appears only at the interval point, after an introduction in the prologue. The script also banks on all the incessant talking that this character does, not only to convey its political ideas, but also to reveal the twists in the tale.

Yet for all its cinematic flaws, the film does not hold anything back as far as the politics that it wants to speak. It raises uncomfortable debates on how those who raise questions are branded and targeted, how the media sets narratives at the behest of the establishment, how it plays into the inherent biases of the common people, and how the politics of identity is used to divide people for votes.

Jana Gana Mana is currently running in theatres

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Malayalam cinema / reviews / Indian cinema

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Jana Gana Mana movie review: Suraj Venjaramoodu rises above a script that lacks cohesion, clarity, depth, finesse and calm

Jana Gana Mana is undistinctive, notwithstanding its brave throwaway lines and moments that made my liberal heart sit up and take notice.

Language: Malayalam

The spotlight falls on the superstar of the new Malayalam film, Jana Gana Mana , only in the second half of the narrative. Once the camera rests on Prithviraj Sukumaran’s character though, it rarely moves away from him as he belts out speech after speech…after speech…after speech…steeped in powerful messaging that, despite the loudness and melodrama of those scenes, is largely well reasoned.

A film has to be more than the message/s it wishes to drive home though. And messages are conveyed by more than just speeches. Neither point appears to have struck director Dijo Jose Antony or writer Sharis Mohammed.

The tension pervading Jana Gana Mana is sparked by news of the rape and death of a popular college lecturer called Sabha Maryam (Mamta Mohandas). What follows is an apathetic response from her institution, student unrest, nationwide outrage, sensationalised media coverage and finally, a police encounter that sparks hysterical approval from the masses and celebrities. Sounds familiar?

The case of a doctor in Hyderabad who was raped and murdered after which the accused were killed by the police when they allegedly tried to escape is still fresh in public memory.

Jana Gana Mana draws on this and multiple other news developments and newsmakers from real life throughout the script in big and small ways. For instance, a point is made fleetingly about prejudice against Muslim women who cover their heads, a public figure says a person can be gauged by their attire while another cites outward appearance as his barometer, and a Machiavellian politician declares that he is willing to ban notes and even votes to retain power. All these are fitted into a script that ends up being primarily about caste oppression.

No doubt in the present Indian political scenario it could be argued that each of these elements is an act of courage and, therefore, laudable. Fair enough. But courage alone is not cinema, especially when these disparate components are not woven together into a cohesive whole.

Most characters in the film barring one - a policeman played by Suraj Venjaramoodu - are sketchily drawn and even his graph is unconvincing, the director relies too heavily on Prithviraj’s larger-than-life persona to sustain Jana Gana Mana post-interval, the script feels too crowded, and the narrative jumps from one point to the next to the next instead of flowing smoothly.

The bad writing extends to poorly constructed scenes and awkward dialogues, made worse by strained acting from several actors, in addition to unrelenting music.

The overall effect of the film is its high volume, not just in a literal sense but also in terms of its tendency to underline every point raised, through the use of its soundtrack and studied camerawork. An overly long epilogue announces a sequel to Jana Gana Mana , adding to the film’s already exhausting length.

The tacky direction and writing are combined with confused politics. Jana Gana Mana ’s title is drawn from India’s national anthem and alludes to the minds and will of the people, yet the film dithers in its position on mob justice. A college lecturer speaking to his class about their duty to fight the good fight appears to trivialise the Kiss of Love campaign started in Kerala to oppose self-appointed moral police. The incident that looms over the entire proceedings in Jana Gana Mana is a woman’s rape yet at the forefront of the script are two men - ACP Sajjan Kumar (Suraj) and advocate Aravind Swaminathan (Prithviraj). The woman herself, Sabha, is written as a rough outline of a kind soul committed to social welfare, and nothing beyond that. Caste bias, discrimination and atrocities are Jana Gana Mana ’s main concerns, yet the reins of the battle are not handed to the marginalised community in question.

The saviour complex should not come as a surprise for anyone who has seen the director’s film Queen with its deeply problematic treatment of rape; nor should the tackiness. In fact, in both respects, Jana Gana Mana is a vast improvement on Queen.

Prithviraj and Suraj teamed up not too long back in Lal Jr’s smartly written and crisply directed Driving Licence (2019). That film was an excellent addition to the Malayalam New New Wave from which has emerged some of the best Indian cinema of the past decade. Jana Gana Mana is undistinctive, notwithstanding its brave throwaway lines and moments that made my liberal heart sit up and take notice.

Despite the film’s limitations, Suraj manages to turn out a warm performance that rises above the failings of the script. Prithviraj’s charisma makes it hard to ever dislike him on screen, but it is just as hard not to wonder why a star who has directors and writers lining up at his door chose to back this film that lacks cohesion, clarity, depth, finesse and calm.

This review was first published in April 2022 when Jana Gana Mana was released in theatres. The film is now streaming on Netflix.  

Rating: 2 (out of 5 stars)   

Anna MM Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial  

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Jana Gana Mana 2022 Movie Review in Telugu: 'జన గణ మన' మూవీ రివ్యూ

Published Sun, Jun 5 2022 2:53 PM

టైటిల్‌: జన గణ మన (2022) నటీనటులు: పృథ్వీరాజ్‌ సుకుమారన్, సూరజ్‌ వెంజరమూడ్‌, మమతామోహన్‌ దాస్‌, జీఎమ్‌ సుందర్‌ తదితరులు కథ: షరీస్‌ మహమ్మద్‌ దర్శకత్వం: డిజో జోస్‌ ఆంటోని సంగీతం: జేక్స్‌ బిజోయ్‌ నిర్మాతలు:  పృథ్వీరాజ్‌ సుకుమారన్, లిస్టిన్‌ స్టీఫెన్‌ ఓటీటీ విడుదల తేది: జూన్‌ 2, 2022 (నెట్‌ఫ్లిక్స్‌)

విభిన్నమైన కథా కథనాలతో ఎప్పుడూ ప్రత్యేకంగా ఉంటుంది మలయాళ సినీ ఇండస్ట్రీ. అందులోనూ పృథ్వీరాజ్ సుకుమారన్‌ సినిమాల ఎంపికను మెచ్చుకోక తప్పదు. నటుడిగా అయ్యప్పనుమ్‌ కోషియుమ్‌, డైరెక్టర్‌గా లూసీఫర్‌ తదితర చిత్రాలతో అలరించిన ఆయన తాజాగా 'జన గణ మన' సినిమాతో ప్రేక్షకులకు ముందుకు వచ్చాడు. నిజానికి ఈ సినిమా ఏప్రిల్‌ 28న విడుదలైనప్పటికీ ప్రముఖ ఓటీటీ దిగ్గజం నెట్‌ఫ్లిక్స్‌లో జూన్‌ 2 నుంచి స్ట్రీమింగ్‌ అవుతోంది. ఓటీటీలో సందడి చేస్తున్న ఈ సినిమా నెట్టింట ట్రెండింగ్‌గా మారింది. నెటిజన్స్‌ ప్రశంసలు కురిపిస్తున్న 'జన గణ మన' ఎలా ఉందో రివ్యూలో చూద్దాం. 

కథ: ఒక యూనివర్సిటీ ప్రొఫెసర్‌ సబా మరియం (మమతా మోహన్‌ దాస్‌)ను రేప్ చేసి శరీరాన్ని కాల్చి చంపేశారని మీడియాలో నేషనల్‌ హైడ్‌లైన్‌ అవుతుంది. తమ ప్రొఫెసర్‌కు న్యాయం చేయాలని నిరసనకు దిగుతారు ఆ యూనివర్సిటీ స్టూడెంట్స్‌. దీంతో ఆ కేసును చేధించమని ఏసీపీ సజ్జన్‌ కుమార్‌ (సూరజ్‌ వెంజరమూడ్‌)ను ఆదేశిస్తుంది ప్రభుత్వం. మరీ రంగంలోకి దిగిన ఆ ఏసీపీ ఏం చేశాడు ? ఆమెను హత్య చేయడానికి కారణమేంటి ? కారకులెవరు ? వారిని ఏ విధంగా శిక్షించాలని సమాజం కోరుకుంది ? తర్వాత ఏసీపీ ఎదుర్కొన్న పరిణామాలేమిటి ? కోర్టులో లాయర్‌ అరవింద్‌ స్వామినాథన్‌ (పృథ్వీరాజ్‌ సుకుమారన్‌) సంధించిన ప్రశ్నలు ఏంటి ? తదితర ఆసక్తికరమైన విషయాలేంటో తెలుసుకోవాలంటే కచ్చితంగా సినిమా చూడాల్సిందే. 

విశ్లేషణ: సత్యమేవ జయతే.. సత్యానికి అబద్ధం ఎన్నిసార్లు అడ్డుగా నిలుచున్నా, చివరిగా కటిక చీకట్లో ఉన్న సత్యం వెలుగులోకి రాక తప్పదు అని 'జన గణ మన' సినిమా ద్వారా తెలియజేశారు. ఇది పేరుకు సినిమా అయినా ప్రస్తుతం సమాజంలో నెలకొన్న పరిస్థితులకు 2 గంటల 41 నిమిషాల నిదర్శనం. విద్య, న్యాయ, పోలీసు, మీడియా, రాజకీయ వ్యవస్థ ఇలా ప్రతీ అంశాన్ని తడిమారు. ఈ వ్యవస్థల ఉనికి, విశ్వసనీయతను సూటిగా ప్రశ్నించారు. సమాజంలో అవి ఎలాంటి పరిస్థితులో ఉన్నాయి, వర్ణ, కుల, మత, జాతి విబేధాలు ఏ స్థాయిలో ఉన్నాయో కళ్లకు కట్టినట్లు చూపించారు. ప్రభుత్వాలు తమ గెలుపు కోసం పరిస్థితులను ఎలా మార్చుకుంటాయి ? అందుకోసం ఏం చేస్తాయి? విద్యార్థులను ఏ విధంగా వాడుకుంటాయి? వంటి విషయాలను తెరపై చూపించి వాటన్నింటి గురించి ఆలోచింపజేసేలా సినిమా ఉంది. ఏది అబద్ధం, ఏది నిజం అనేది సమాజం ఎలా నిర్ణయిస్తుందో, ఏ దృక్కోణంతో ఆలోచిస్తుందో, ఎలా ప్రభావితమవుతుందో సమాజానికి చూపించారు.   

రాజీనామా చేసి వెళ్లిపోండి.. టీడీపీ కార్యకర్తల అల్టిమేటం

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Jana Gana Mana Review: Suraj Venjaramoodu Shines in Dijo Jose Antony’s Second Shot at a Social Justice Film

(Spoiler Alert)

Courtrooms in Indian mainstream cinema are akin to theatre. There are artists and an audience, rendition of the hyperbole and abandonment of objectivity. The actors belt out long dialogue, while the camera impassively records the faces and the proceedings.

The courtrooms in director Dijo Jose Antony ’s films – Queen (2018) and the latest, Jana Gana Mana – are loud and explosive, headlined by a lawyer, the superhero in a black coat, who is immune to character development. He lashes out at everyone in the room and the audience, occupying a moral ground so high that one would need a telescope to sight them from the earth. In Queen , Salim Kumar played an angry lawyer who turned the entire latter half of the film into a tirade. In Jana Gana Mana , Prithviraj trembles in rage and terrorises the courtroom. The film, centred on the death of a college professor Saba ( Mamta Mohandas ), argues against media trials in high-profile cases. It asks the viewers to not succumb to sentimentalism but look for what lies beyond the obvious. Ironically, Jana Gana Mana uses the same language of hyperbole it warns the audience against.   

The film unfolds in the fictional town of Ramnagara in Karnataka, in a central university that eerily resembles Jawaharlal Nehru University (JNU). The scenes of student protest and subsequent police violence on the campus take cues from the press reports on the incidents that unfolded in JNU in January 2020.   

Subtlety, clearly, is not Dijo’s strength. The narrative teems with expository dialogue and scenes. In an early scene set on the college campus, at Saba’s memorial service, the chairman of the university takes the podium and delivers an offensive speech, blaming Saba for stepping out at night and terming the student protests in connection to her death part of a larger anti-national movement. Not just him but all the villains in Jana Gana Mana proclaim their villainy and reveal their carefully chalked out plans in casual phone calls or on public platforms. The film’s audacity to speak up against India’s dangerous right-wing nationalism and the ingrained misogyny of Indian society is rare and praiseworthy. But Dijo’s assumption that the evil likes to flaunt itself is a fatal error.  

Similar absurdities, contradictions and empty rhetoric are plenty in Jana Gana Mana . The background score ( Jakes Bejoy ) is relentless, loud and too passionate, a sonic equivalent of the film’s characters. The student leaders, played by Vincy Mathew and Dhruv, are simplified into wannabe revolutionaries whose courage is marked by their angry rants and valiant screams. In the final part of the film, the students and the audience at the court, who had been passionately listening to the lawyer’s arguments against mob justice, fling themselves into yet another act of mob violence, vandalising police vehicles and baying for the blood of the cops. The lawyer, whose superpower is his self-righteousness, berates the honourable judge and the witnesses for their hypocrisy and prejudice against people who come from a certain socio-economic background. Yet, Saba, who holds the film’s emotional narrative together, is always framed like a cliched angel, the camera highlighting Mamta’s glowing face, impeccable smile and upper-class demeanour. There are more victims in the film, who resemble people like you and me, but they get nothing more than a story lazily lifted from newspaper headlines.  

Dijo finds a great lead character in assistant commissioner Sajan Kumar, played by Suraj Venjaramoodu , but he gropes in the darkness about structuring a character arc for him. Great films conceal clues to create delicious plot twists, mediocre films put up charades. The viewer should feel betrayed by the big reveal in the climactic scene as the film had, until then, given them the feeling that they were privy to Sajan’s subjective point of view of the events. The hurried negation of this impression is the film’s weakest link.   

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Dijo crams several issues into the narrative. But he makes a daring move by pointing out the ingrained social biases in the media reporting of sexual harassment cases in a country that likes to consecrate its young rape-murder victims. By far, the best element of the film is Suraj’s portrayal of Sajan. His grey shades come through very well in his introduction scene when he negotiates with a group of protesting students and gains entry to the college campus. “They are just students, not an army of Taliban,” he remarks to his subordinate and walks to the student leaders, quickly concealing his contempt and switching to a position of empathy. In the end, the film is taken over by Prithviraj’s thundering speeches, but Suraj’s subtle mannerisms and careful body language stay memorable. The actor effortlessly turns Sajan into someone who deserves your pity and wrath.  

This Jana Gana Mana review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

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Puri Jagan has made news all over as his leaked audio tape about Liger’s distributor issue went viral in the media. Puri is under pressure to deliver and has not yet announced any film to date.

He started Jana Gana Mana with Vijay Devarakonda but the latter backed out of the film at the last moment. Now, the gossip in the film circles is that Puri is trying hard to rope in a star hero for this film.

The word is that Puri is all set to approach Ranveer Singh and Vicky Kaushal to play the lead in this film. He is planning to make this film in a bigger way than the one planned before. Only time will tell which actor will come onboard for this dream project of Puri.

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