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He also throws in a direct reference to the original just to make sure you get the point. The script is an inspired retelling of Roman Polanski’s seventies noir classic Chinatown and to the director’s credit, he does not hide it, but instead pays tribute to it in his own way by reworking the plot and some key scenes to suit his point of view. We have the character elements of the noir genre in ample measure: a morally ambiguous, loveless world, populated by cynical and apathetic characters each driven by their own lusts and greed, the femme fatale who is sympathetic to the hero, mysterious damsels in distress, the aging patriarch with his insatiable ravenousness for power justifying his actions by appealing to the “natural order of things”, crooked cops, scummy goons, and nosey neighbors. So what does the director do here? Navdeep Singh has crafted a film dripping with nuances of life in a small desert town, and has used the metaphor of the desert to suggest the aridness and sterility of the life of the chief protagonist, Satyaveer Randhawa, underplayed superbly by Abhay Deol. The Noir (French for night, literally and figuratively standing for ‘black film’) genre gave us such Hollywood films like The Maltese Falcon and The Asphalt Jungle in the forties and fifties, and more recently the conventions of the genre have been reworked in neo noir films like the Coen Brothers’ Blood Simple and Ridley Scott’s Blade Runner. Tejaswini Vemburia (… on The Aryan Invasion DebateĪrmchair Guy on Ubuntu 13.Yes, in the fifties we had them for sure, notable amongst them being Baazi and Aar Paar, both directed by Guru Dutt, but they suffered from the fact that the mores of film making in India did not really allow the chief protagonist to be cynical, morally ambiguous, and deeply pessimistic about the world: a world that was jaded and characterized by an acute loss of faith in ‘universal’ values of love and justice. It is a gripping, highly watchable, well-directed thriller.Īrmchair Guy on Andhra Workers and the IT…Īrmchair Guy on Ubuntu 13.10 on a Dell XPS… Nevertheless, the bad ending and sedate pace don’t diminish this film much. But Manorama fails in this: while a few tidbits are thrown at the audience throughout the movie, the main mystery is simply explained verbally by Satyaveer at the end.
MANORAMA SIX FEET UNDER SUSPENSE INDIAN MOVIE
A good mystery unravels in front of the audience like a multiply-wrapped gift as the movie progresses. The main problem, as I see it, is with the ending itself. The movie does a great job of holding its suspense right until the end. Manorama is an atmospheric movie, mirroring the dry, slow, soporific desert in which the story is set. The director managed to extract a pretty good performance from all of the other actors as well there isn’t a bad performance in this film. She doesn’t quite fit the small-town housewife mould. Gul Panag, who plays his wife in this movie, is very good as well - although her personality is a little too strong for the role she plays.
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The dryness of his life mirrors that of the desert. He carries off his role in this movie quite well, that of a jaded government servant bored by everything in his life. I hope he doesn’t get scared off doing good movies. Unfortunately, the intelligence of these roles is in inverse proportion to the performance of his movies at the box office.
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Satyaveer spends most of the movie trying to figure out what was going on and getting involved in crime, politics, and much more than he bargained for.Ībhay Deol seems to make better movie choices than his cousins Sunny and Bobby (another memorable one was his role in Ahista Ahista). It is the story of a struggling writer/bureaucrat named Satyaveer (played by Abhay Deol) who meets a woman named Manorama, who gives him a mysterious message and then disappears.
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Falling vaguely between a Western and a moody detective thriller (those in the know call it ‘Noir’), Manorama Six Feet Under is a gripping and suspenseful movie.