Blessy's previous movies featured ordinary human beings caught in natural situations in a refreshing way. But Bhramaram story was centred on a rather extraordinary crime and the hero's response to it was even more extraordinary. The beginning of the movie did have a Hitchcockian flavour, but the second half was slow paced - more Adoor than Hitchcock. A striking quality of Blessy's first movies were the speed and flow of the narrative - the economy of dialogue and the agility with which one scene gave way to the next - with Thanmatra and Kazhcha, the flow was swift - there was never a bump or breakdown - giving no chance for boredom to raise its head in the viewer at any time. I felt this was not the case with Bhramaram. The mature romance between the portly Mohanlal and the nubile Bhoomika and the surrealistic (belly) dance number in a supposedly rustic village lacked the authenticity of similar scenes of Kazhcha and Thanmatra. There was hardly any suspense in the second half. In both Kazhcha and Thanmatra, the movie ended leaving the viewer with positive and warm reflections on human nature and convincingly showed that love could get the better of adversity - but in Bhramaram, the ending was not nearly as heartwarming- though the director may have tried to bring in a positive feeling by projecting the goodness of forgiveness.
10 of 15 people found this review helpful.
Was this review helpful to you?