Rahul Sadasivan: Mammootty in a black-and-white horror film was our USP

There are only two kinds of films in the world: good films and bad films. Anything that strikes an emotional resonance with the audience is invariably a good film, while the ones that fail to achieve it get dismissed. Among the good ones, there are again two kinds, based on the experiences they offer—films that offer instant gratification but don't leave a lasting impression, and then some that absorb you into their world and refuse to leave us, just like stepping into Kodumon Potti's mana in Bramayugam. Director Rahul Sadasivan was probably hinting at the same when he wrote, "Thanikku pokan anuvadham ilyaa" (You don't have permission to leave).

Ever since Bramayugam's release in February, the film has been extensively discussed by cinephiles, in an attempt to unravel its multiple layers and interpretations. With the film now available to stream on Sony LIV, conversations around it have only increased, much to the delight of director Rahul. "The intention was always to lure people for revisits. Right from the scripting, we had designed the film in such a way that there are multiple interpretations."

The director, a graduate of the London Film Academy, made his debut in Red Rain (2013), a sci-fi thriller about the presence of extraterrestrial life, and followed it up with Bhoothakaalam (2022), a horror thriller blending psychological and paranormal elements. Rahul credits his love for high-concept ideas to international cinema. Admitting that the horror genre is yet to thrive in Malayalam cinema, the director says, "There are a lot of gimmicks here. We should remember that we are catering to an intelligent audience who are exposed to world cinema; so you can't just throw in some gimmicks and get away with it. For a genre film to succeed, it's mandatory to have a well-designed concept that can immerse the viewers." Citing his own films as examples, Rahul adds, "I did Red Rain right after college without doing much research. As a result, the writing was superficial and not rooted. Whereas with Bhoothakaalam, I wanted the audience to root for the characters and make it a very personal experience. I was also conscious of not including any typical horror tropes."

Bramayugam, Rahul says, is an idea that stemmed from a longtime desire to make a period film in black-and-white. The director, who grew up on a steady diet of folklore, legends and grandma tales, decided to incorporate these elements into his period film. "I wanted to employ all these culturally-rooted concepts in a cinematic format. I drew inspiration from old movies, books and stories from Aithihyamala. So, I first arrived at the setting, followed by the format, then the concept and later, the themes."

Themes. While Malayalam horror films usually rely on cheap thrills and comedy, Bramayugam stands apart with how it is layered with relevant themes like power corruption and the cyclical nature of oppression. According to Rahul, "the themes evolved gradually during the writing, which went on for nearly two years." During this period, he researched everything about the socio-political landscape of 17th-century Malabar, besides the architecture, costumes and even the food consumed then. "Our history is not extensively recorded, but I still managed with whatever resources we had. I wrote multiple drafts before I decided to collaborate with another writer to get the dialect right. That's how novelist TD Ramakrishnan sir got on board to pen the dialogues."

Unlike his other films, Rahul says, Bramayugam was written with an actor in mind. The director explains that for a concept as complex as this, he needed a strong performer. "Mammootty sir was my first and only choice. When I narrated this idea, he was instantly interested and after a couple of reading sessions, he immediately gave me his dates. I never imagined this film in colour format, similarly, I could never imagine it without him. Mammootty sir in a black-and-white horror film—that's how I tried to sell this film." The black-and-white format, Rahul emphasises, was not merely a stylistic choice. "This format enhances everything, from the art and costumes to the depth of performances. It also made sense because we were talking about dark themes like oppression and discrimination."

Bramayugam transports us to a dilapidated mansion in the 17th century where its autocratic owner, Kodumon Potti, lives with his unnamed cook aka velakkaran (Sidharth Bharathan). Thevan (Arjun Ashokan), a singer from the oppressed caste of Panan, escapes slavery and drags himself to Potti's mana, only to realise that he has landed in a bigger trap. Here, Rahul masterfully creates a world of eeriness, inhabited by popular characters from Kerala folklore like Chaathan and the Yakshi. Building a world where everything functions according to the creator's logic was one of the most fun aspects of Bramayugam, says Rahul. "When you are creating a world, you are bringing your own logic. The key, though, is to maintain consistency and play within the rules you have set. A tinge of realism is also important because you have to ensure the audience is also invested."

One of the most significant characters in the film is the Chaathan, who can be defined as both a slave and a master. A victim of abuse by Kodumon Potti's ancestor, Chudalan Potti, the Chaathan retaliates eventually by annihilating the entire lineage. In the present, the Chaathan has taken the shape of the last scion, Kodumon, to experience power. Shedding light on Chaathan's characterisation, Rahul explains, "When you have immense powers, you tend to play around with others' freedom. That's what the Chaathan is trying to do to Thevan through Potti. It's not possessing or getting possessed by someone else, but more like identity theft. The Chaathan is both the oppressor and the oppressed in his own realm. That's also the reason why he is not able to get out." But if the Chaathan wants to escape the mana, what's stopping him? "The Chaathan knows it would escape eventually, but doesn't know how and when. It knows someone called Thevan would come and it can escape through his death, but it doesn't know when and how it would occur. It's like the Chaathan doesn't know the end, but always knows there's an end."

While Rahul's ingenious characterisation of the Chaathan has impressed many, some have also argued that the stereotypical depictions of evil could have been avoided. The critics have pointed out how the Potti, impersonated by Chaathan, is portrayed with stained, crooked teeth and his meat eating is framed in extreme closeups to convey a sense of disgust. But the director seems to be unfazed by such comments as he asks, "Why should such portrayals be avoided. How else should I show the mannerism of a creature with no real emotions, living in the identity of someone else? Just because some people don't enjoy such images, doesn't mean I can't show it. They've to understand that it's a genre film. I do try and analyse my writings after a few drafts to see if there's anything problematic, but I don't limit myself a lot because such thoughts would cripple me from coming up with an impactful story."

Bramayugam's climax is astounding, with a barrage of twists thrown at us. Just as we heave a sigh of relief at the end, we hear a gunshot. The camera slowly focuses on a battalion of the Portuguese army, who are also in the quest for power. At this moment, the film leaps from a fable to history. "The idea to bring in the foreign invaders was always there. I knew the velakkaran's end should come from a superior power like that. They shoot him down thinking he's just another madman, signifying the 'age of madness', which is 'Bramayugam'."

In another last-minute twist, we see the Chaathan impersonating Thevan and exiting the mana through him. While many have inferred it as Rahul equipping the oppressed with power, some have pointed out that the film makes a false statement by suggesting that power is equally evil, irrespective of it being wielded by the dominant or oppressed caste. However, Rahul refutes these claims and clarifies, "There's nothing about caste here. Many have asked me if I was trying to empower the oppressed, but no. The Chaathan or the symbol of power is always shifting from one body to another. In the end, it turns out to be the Paanan's. The conflict is all about the power dynamics between the three characters—Potti, Thevan and the velakkaran."

Rahul, though, is eager to see more such readings. "The more they discuss and dissect, the longer they live with the film."