new Delhi: Gatham begins to look like a basic psycho thriller. A young couple is stranded in the middle of the snow when their car breaks down on a highway. A stranger said, he lives nearby and provides them shelter for the night. Once in their place, the couple learns that nothing about strangers or his cabin in the woods is normal.
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Writer-director Kiran’s narrative production feels like a jerk in an attempt to create a creepy atmosphere.
This is where the spin lies about the story. The cheesy approach is intentional, you gradually realize what effect the store post interval has.
Gatham tells a confusing story. It is difficult to discuss the merits or shortcomings of the story without taking away the spoiler, although we can show the narrative in the build-up phase. The trapped young couple are not happy to go down the highway. Rishi (Rakesh Galbahe) has lost his memory in an accident, and his girlfriend (Pujit Kuraparthi) is driving the couple to meet their father. The sage repeatedly has nightmares, nightmares. The stranger (Bhargava Poludasu) is not alone, it is revealed, but with a younger man he introduces her as his son. Son, it is clear now, is a pervert.
These are plot points dropped slowly in the early times to give an indication of what is actually happening. Essentially, the story simply tells a lot of the plot quickly, as does the need to tease viewers to guess if Sage and his girlfriend are really in trouble.
In form and form, Gatham tries to be like a polished Hollywood thriller, though it ends up being a nineties Hollywood thriller. The idea sounded ideologically brilliant, but writer-director Kiran and team could have done a better job of translating it into the language of cinema. Once, when you get the hang of the smart storytelling style, you start to realize that this script actually has very little original content.
Nevertheless, it also does not matter if there were no flaws in the narrative. Gatham is based on a short film the director made some time ago, and in an attempt to spread the concept to a full-length feature format, flaws are introduced.
For example, the location is a beautiful backwater in the United States and yet random Indian characters appear everywhere. More bizarre, they are all fluent in Telugu. Foreign people – especially women – play certain stereotypes in the story that Indian cinema cannot overcome even after all these decades. No one fails to understand the need to base the story of an Indian film in America for a reason when it could have been easily set against an Indian backdrop (feeling the same way to see Nishabdham a few weeks back it was done).
But there is an urge to create and entertain with something unconventional, which redefines Gatham. The film is supported by some IT professionals from the United States and consists mostly of the Greenhorn cast and crew, and you only reveal new ones. Overall the cast is far from reassuring, but again this has rarely been a drawback for a film that kills well and chills.
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