Murder Mubarak: Homi Adajania’s crash course on how not to make mystery movies.It’s shrill, sloppy and stupid like Sara | Bollywood News
Director Homi Adajania said in an interview ahead of the Netflix release of his new film, The Mubarak Murders, that he thought it was wise to describe the film as “complex.” Like any sensible observer, your first instinct would be to give him the benefit of the doubt and wonder if he misspoke. Why do filmmakers call their films complicated? But after a few minutes, Adajania said again. “It’s very complex. It’s not a simple murder mystery,” he told Film Companion. Um oh.
And as it turns out, he was right. With a large cast of characters and a strange structure that’s more disorienting than disarming, Murder Mubarak offers a crash course in how to do things. do not have tell mysterious story. Both his own abilities and the audience’s ability to keep up are so erratic that he introduces each character’s name in bold on-screen text. One man is introduced twice. Of course, all this is meaningless. Probably not a single person will remember the names of these people, except for the character played by Sara Ali Khan. But that’s only because she goes by Bambi Todi. fun. We’ll probably call the rest by their actors’ names. vijay varma “He’s a creepy guy”, “Dimple Kapadia’s behavior is suspicious”, “Pankaj Tripathi will solve this problem”. And you know what? Are you okay.For example, we all know that Kajol He was a murderer. But does anyone remember who she played?
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The Mubarak Murders spends a lot of time on things like this, even though it shouldn’t have set the tone, established the stakes, and most importantly, messed with the venerable structure of the genre. is wasted. And because it’s already introducing each character in an attention-grabbing way, once it’s revealed that the opening scene was some sort of flashback, the movie basically feels like it has to introduce everyone again. I feel it. This is also when it becomes clear that the person we were led to believe was murdered was still alive and that another person had been killed in his place.How to wrest away the shreds of sympathy you begin to build when you see someone unconscious. Brijendra Kala.
But Mubarak’s murder isn’t the only complex mystery that exists, right? So why are other movies like Under the Silver Lake, Donnie Darko, and even Memento more appealing? The answer is pretty simple. Craft. As we all know, the grammar of murder mystery is so ingrained in our minds that it’s difficult to rewrite the rulebook. And while the Mubarak murder case features an eccentric detective (played by Pankaj Tripathi) who conducts a series of interrogations on a motley assortment of suspects before arriving at the culmination, Adajania’s storytelling is oddly hit-or-miss. It is what it is.
For example, the scenes in The Mubarak Murders are not separated by traditional transitions. We don’t see any establishing shots, so we effectively enter the scene in a state of confusion. Literally, where are we now? Who has the upper hand? Did the detective visit the suspect, or did the suspect crawl up to the detective? All of this is important information. Also, characters do not arrive at or depart from a specific location. The scene begins and ends in a room, with everyone just sitting there. Blocks are not playful. In other words, Everything is communicated through dialogue –This is the most boring thing about a movie like this.
Filmmaker Kevin Smith once recalled the biggest lesson he learned from Bruce Willis during their often unpleasant collaboration on the film Cop Out. While setting up the basic shot, Smith was told he might need to consider adjustments. Willis felt that everyone was too static and ideally should keep moving. “This is an action movie, so there has to be action,” he told Smith, and Smith listened, and soon the scene came to life. He’s one of the biggest reasons why The Mubarak Murders (which is clearly not an action movie) feels so sluggish: no one seems to be moving. This kind of storytelling robs the movie of all subtext. Because you’re just paying attention to stuff like this.And before Adajania suggests so in her class commentary on the Mubarak murders. teeth Subtext, but let me say it’s not. When there are rich characters in a movie, the poor people are described as “.aap jeselog‘, we no longer deal with subtext. It’s all just… text.
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Despite all the complaints from audiences about Kenneth Branagh’s increasingly impressionistic Hercule Poirot films, who can blame these films for their lack of visual ambition? It will be difficult to find. Murder on the Orient Express was shot on his 65mm film. This is the perfect format for the tableaux and close-ups that Branagh designed for his climactic sequences. And while The Ghost of Venice was shockingly boring on a story level, it was never lacking in visual appeal. In fact, Branagh went too far. gothic horror style, often focusing more on mood than momentum. However, just because “Mubarak murder case” appears, Deven Bhojani Just because it was a supporting role, it didn’t have to look, sound and act like a forgotten episode of Baa Bahu Aur Baby.
post credits scene is a column that analyzes new releases each week, with a particular focus on context, craft, and character. Because even after the dust settles, there’s always something to stick to.
(Tag Translation) Mubarak Murder Case
