You can clearly hear the sounds of a handkerchief being folded, a bracelet jiggling, coins dropping, and a crow cawing. While the sync-sound adds an additional layer of authenticity, the added sound effects are excellent. The paper-weight also becomes a metaphor for Shiva, with its round, bald, and unassuming presence keeping heavier stuff pinned down. Shiva wears a particular kind of footwear, and plays with a paper-weight. In several places, Raj explores character quirks. The slow-mo shots serve two purposes - building suspense and elevating the character to mass expectations. Sometimes, the camera looks glitchy and hurried.
The story evokes the idea of ‘kaala’ (time) and Raj plays with it, slowing down scenes and sometimes freezing them, even in situations when he has to capture intense moments of action, such as the antagonists running or riding a bike. Through all these, the dialogue is minimal. He breaks up with him by returning a bike he has received as a gift. Shiva cannot stab Hari although he has his knife handy.
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A driver starts to empathise with his boss Brahmayya but that is seen only in his facial expression. Hari’s mother, cutting fish, can still detect an unfamiliar smell. This is a scene that will remain for a long time in memory. At the same time, powerful people stand to his right, guarding him and letting him dance away. When a blood-stained Shiva is dancing in the rain in front of a temple, he has currency notes strewn at his feet and people waiting to harm him on his left. Placing things within the four corners of a frame consciously to amplify the experience is a fundamental technique that unfortunately is given a go-by in a majority of mainstream films.
Very few Kannada films show staging sensibilities like ‘GGVV’. What follows a hospital scene, where Hari is outraged at the harm caused to a character called Neethu, and another where the MLA slaps Brahmayya, (the police officer out to nab Hari and Shiva) are good examples of how Raj depicts the assertion of power. One of the highlights of this film is how it shows the subtle shifts in power dynamics. A good example is the first scene at the police station where don Shiva’s character is introduced. It has almost no short scenes: most are longer than five minutes, making the film episodic. ‘The demon in me’, a song used as the title rolls, should ideally have welcomed the audience to the world of Mangaladevi but it warns us to stay away from the demonic characters in her world.Īlso, using electronic music with English lyrics in a film that later uses such traditional compositions as ‘Chandrachooda Shiva Shankara Parvathi’ and ‘Soojugada sooju mallige’ is unexpected, but it all works beautifully. He plays Shiva, pitted against his childhood friend Hari (Rishabh Shetty), who later turns an antagonist.Ī violent story with an almost all-male cast is located in the city of Mangaladevi, with a presiding deity people call ‘Devi’. The film is a classic ‘cop vs criminal’ drama, but Raj packages it in a style novel to Kannada films. Raj B Shetty’s latest directorial ‘Garuda Gamana Vrishabha Vahana’ is a textbook example of how you can deliver a tried and tested formula in a fresh new form.
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