Jana Gana Mana
| April 28, 2022 (India)
Director: Dijo Jose AntonyWriter: Sharis MohammedStars: Prithviraj Sukumaran, Suraj Venjaramoodu, Mamta Mohandas
Summary: As a college professor's brutal murder sparks student unrest, a cop launches an investigation while a lawyer seeks justice in the the courtroom.
Countries: IndiaLanguages: Malayalam
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File No – YTS921-10420
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Jana Gana Mana 2022 Movie Review
Jana Gana Mana 2022, There are times when no amount of persuading someone with facts and arguments or giving them enough lectures will be enough to get them to reconsider some of their deeply ingrained prejudices. It is possible that a more effective strategy would be to begin by appealing to their prejudices, and then to gradually begin chipping away at it from the inside. This dictum serves as the guiding principle for Jana Gana Mana, which was directed by Dijo Jose Antony and written by Sharis Mohammed.
They get the audience to applaud for encounter murders, which is sadly extremely common in our culture as well, at the point when the intermission is, which is quite an intriguing set up, only to spend the remaining half illustrating why the entire notion is wrong. However, at least in the realm of film, audiences like having the rug pulled out from under them; this explains why many viewers ended up applauding both the introduction of the concept and its subsequent destruction.
A University in the state of Karnataka serves as the focal point of the story. 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, which leads to major student protests. Saba is known for speaking out against the administration for a variety of issues concerning the students. In situations that were eerily similar to those that take place in the real world, the cops mercilessly assaulted the protesting students. When Sajjan Kumar (Suraj Venjaramoodu) takes leadership of the inquiry in an apparently intentional way, the students’ faith in the authorities plummets to an all-time low.
In his second attempt, director Dijo Jose Antony, who made his directorial debut with the picture Queen, aims far higher than he did in that earlier effort. During the time that the screenwriter was working on the movie, the contemporary debates that are taking place in the country regarding the expansion of far-right politics—which thrives on the ongoing stirring of the communal pot and the dissemination of hate propaganda—must have certainly been playing in his mind.
The execution, however, is not very consistent, despite the fact that it has the appropriate intention and a structure that is at least somewhat fascinating. The whole of the production is very boisterous and exaggeratedly theatrical, particularly the court sequences that take place toward the end. In contrast to the earlier campus scenes, which are filled with aimless wandering and tangents, the latter ones are filled with hasty action that contains much too much information. After being introduced in the film’s prologue, the figure of Prithviraj does not reappear until the halfway point of the story. This contributes significantly to the air of intrigue that surrounds him. The screenplay relies heavily on all of this character’s nonstop babbling not just to communicate the script’s political ideals but also to disclose the plot twists that are hidden inside the story.
Nevertheless, in spite of the film’s many technical shortcomings, it pulls no punches when it comes to the issues about which it wishes to talk. It brings up uncomfortable questions and debates about how those who question things 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.