Jana Gana Mana Review – Two hours and 43 minutes appears to be quite a while for a film – particularly when Jana Gana Mana started, all ramshackle rackety and without a sign of where it was going. It additionally appeared to take an entirely sketchy perspective and when the film broke for span, I had next to no expect it.
Be that as it may, in spite of a couple of tiring zingers and vulnerable teaching, Prithviraj and co really do commute home a point, and the film, which seemed to have absolutely no worries, unexpectedly appears to be hurried with an excessive amount to say in too brief period. Maybe like a large number of us bums, who recollect as of now that there was some place to go and time was slipping away.
Jana Gana Mana Trailer
Jana Gana Mana Cast, Release Date, Language, Directors & More
- Release Date – 28 April 2022
- Language – Malayalam
- Genre – Action, Thriller
- Cast – Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas, Sri Divya, Dhruvan, Shari, Shammi Thilakan, Pasupathy, Azhagam Perumal, Ilavarasu, Vinod Sagar, Vincy Aloshious, Midhun, Hari Krishnanmore…
- Director – Dijo Jose Antony
- Writer – Sharis Mohammed
- Cinematography – Sudeep Elamon
- Music – Jakes Bejoy
- Producer – Supriya Menon, Listin Stephen
- Production – Prithviraj Productions, Magic Frames
- Certificate -16+
With the 2019 film Driving License, Suraj Venjaramoodu and Prithviraj Sukumaran had demonstrated that they made a considerable pair, in talks and deeds. In Jana Gana Mana, they have relatively little trades, rather they alternate. Suraj first, Prithviraj later. It is intriguing to see, in many turns, who triumphs ultimately the final say regarding the end.
Suraj looks tidy, legitimate and develop in the garments of a cop, an associate chief responsible for examining the supposed assault and murder of a lady teacher – Mamta Mohandas. Mamta, as wonderful Sabha, is agreeably the legend of a lot of examination understudies at a focal college – a job that typically goes to men. Sabha is frequently at the focal point of a gathering of understudies, being their aide and rationalist, and the first to fight unfairness.
It is all disorder and exceptionally natural settings – understudies dissenting, raising mottos for equity for their killed instructor, police pummeling them, media reports, all things considered, The content – composed by Sharis Mohammed and coordinated by Dijo Jose Antony – attempts to integrate equals of a great deal of genuine emergencies, yet all the same it’s all fairly insufficient.
Mass scenes in grounds – obviously written to raise spirits – look novice. The fact of the matter is anyway conveyed – conservative components, manikins of more seasoned senior pioneers, saturating the image and making inconvenience.
Suraj strolls into this scene with the airs of an honest police officer, a few times repeating that the power is there to execute the law. He is quick – seeing the understudies, seeing the deprived family (Shari as the mother in a conspicuous job after quite a while, and Sabha’s sister), picking the signs, grabbing the suspects.
Obliging all the activity, the content feels somewhat secretive, exchanging between scenes, discoursed not holding your advantage. Just Suraj’s obvious execution – more a man of activity than words and keeping an aloof face through its vast majority – holds your advantage in the primary portion of the film. Toward its finish, the film seems to take a problematic stand that it discredits impressively well in the last half.
Prithviraj, first seen without further ado in a court toward the start of the film, shows up again in the last half. One of his legs is harmed and he wants a stick to walk. He takes as much time as is needed to stand up and talk, however has an enormous screen presence subsequently. As Arvind Swaminathan, he raises a few cases – drawn extravagantly from reality – to make a vital point. Here the content – with a pack of zingers assisted by strong music of Jakes Bejoy – conveys with feeling what was off-base in the larger part stand taken by individuals, and which seemed, by all accounts, to be embraced prior in the film. By eliminating all uncertainty of where the film stands, the content more than conceals for the previous weaknesses.
Nonetheless, the last numerous minutes, as we said prior, are excessively stuffed – such a large number of histories, cut and altered and set up to pretty much completion the riddle, it’d appear. With better making and using time effectively – meaning less time and spreading the content uniformly – the film would have scored more.