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August 16 1947 review: Tedious screenwriting spoils a promising premise
August 16 1947 review: Debutant NS Ponkumar has taken an intriguing premise and wasted it with formulaic execution.

A peak moment in RRR is when Komaram Bheem (Jr NTR) and Alluri Sitram Raju (Ram Charan) come together to save a boy from a fire. Strangers to each other, they communicate with their hands and join forces. They form their plan with hand gestures and act upon it. There is no verbal exchange throughout the sequence. The audiences are left wondering what the two are up to. One can guess but we cannot fathom the entire plan; for instance, what is the flag for? Once you see it, there is an ‘ah!’ moment, and that’s the pleasure of visual storytelling. The pleasure of understanding things just through images, of realising that the filmmaker respects you enough to not verbalise everything. That pleasure is completely absent while watching debutant NS Ponkumar’s period drama, August 16 1947.
The film, set a few days before India’s Independence on August 15, 1947, takes us to a fictional village named Sengadu, which is known for producing the whitest cotton in the world. News doesn’t travel easily to the village as it is surrounded by hills and dense forests. When the whole country rejoiced at the stroke of midnight, the village remained clueless about the life-changing moment, and continued to be oppressed by the colonial administrator Robert (Richard Ashton) and his rapist son Justin (Jason Shah). It was indeed intriguing when NS Ponkumar narrated the premise during a promo event ahead of the film’s release, now only if he could translate the moment on screen.
Instead of getting down to the business of depicting the struggles of the village, NS Ponkumar gives a prologue in the form of an animation clip that does the job the live-action film is supposed to do.
A filmmaker’s overcompensation based on the fear that the audience will not understand their film has ruined many a project, and August 16 1947 is the latest entrant on the list. Added to that, the film suffers from redundancy. Understandably, the director wants to show the enormous pain of villagers. However, the repeated depiction of violence and random deaths makes one numb, when the film fails to emotionally connect us to the villagers. Their sufferings, emotional moments, and celebration get only cursory treatment, lacking any emotional depth. Added to the agony are the songs and the ‘humour’. It is cruel to expect the audience to sob one moment and enjoy Sean Roldand’s average songs at another, and laugh at the gimmicks of Pugazh the next.
Gautham Karthik plays the role of a selfish youngster, Paraman, and we see a flashback showcasing his disregard for the villagers and their plight. He is in love with a zamindar’s (landowner) daughter. She is dead for the world as her father wants to save her from Justin, but Paraman knows the truth, and dreams of eloping with her. However, the arc is that he has to fight for everyone to get what he wants. Again, everything is good on paper. Gautham’s performance is decent, and that can be said about all the actors. Except for comic book villains. Indian cinema, which now wants to go global, needs better foreign actors, and high time these actors get roles which are not cardboard cutouts.
In essence, August 16 1947 and Vetrimaaran’s Viduthalai are pretty much about the same subject, freedom. Even their plots have obvious similarities. Both films are about villages suffering from authoritative forces. Its imperialists in the former, and police in the latter. There is torture, rape, and death in both films, yet they are different. It is the difference that sets apart an average film and true-blue ‘cinema’.
August 16 1947 Director Name: NS Ponkumar
August 16 1947 Cast: Gautham Karthik, Richard Ashton, Revathy, Jason Shah
August 16 1947 Indian Express Rating: 1.5 stars


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