Bayamariya Brammai review
Bayamariya Brammai poster

Bayamariya Brammai Movie Review: An interesting drama pulled down by a clunky screenplay

Bayamariya Brammai can be quickly categorised as an experimental film that stands only for its arthouse value, with its clever use of lights and shadows, and dialogues with profound depth.
Bayamariya Brammai(2 / 5)

We are introduced to the world of Bayamariya Brammai through a dead body. Yes, you read that right. A young man draws blood from an unknown person he killed and deftly creates a few undecipherable motifs from it on the floors and walls. He looks as though he is aiming to leave a clue. Instead, he keeps using his brush to create art that only brings him happiness. The frames are immensely captivating to pull anyone into the film, but its story? Not so much.

Director: Rahul Kabali

Cast: JD, Guru Somasundaram, Harish Uthaman, John Vijay, Sai Priyanka Ruth, Vinoth Sagar and Vishwanth


Bayamariya Brammai is primarily the story of Jagadish (JD), who narrates his story to Kabilan (Vinoth Sagar), an author who wants to chronicle his life. Over the last 25 years, the convict has taken the lives of 96 people. According to Kabilan, Jagadish is a character who can be studied in a million ways as he shows no remorse on his face, despite the amount of blood on his hands. Every time Kabilan points out that he did a ‘kolai’, Jagadish refutes it by saying it was his ‘padaippu’ (creation), just like how an author publishes his works. His words are as uncanny as his life, yet he goes on to explain the way all his murders unfolded.

Each of the characters—Guru Somasundaram, Harish Uthaman, and Sai Priyanka, take on Jagadish’s role in each stage of his life, narrating his woes along the way. Yet, no character connects with you on a deeper level. We neither understand Jagadish or his motives nor if he even has a motive at all. Guru Somasundaram has barely two or three scenes on screen portraying an angry young man. Yet, a moment where he washes his hands thoroughly reminds you of Lady Macbeth in Shakespeare's play, doing the same to get rid of the blood. In another scene, we see Harish Uthaman’s wife confronting him about his prolonged absence in the house. He stands in front of a mirror where the background shows an older Jagadish. But these mere spurs of ingenuity aren’t enough to leverage this drama, in a screenplay that clearly lacks momentum. Even if it was intended, the heaviness in the script weighs down several scenes, as various characters continuously shift to don the role of Jagadish and his accomplices.

Bayamariya Brammai can be quickly categorised as an experimental film that stands only for its arthouse value, with its clever use of lights and shadows, and dialogues with profound depth. Cinematographers Nanda and V Praveen and music director K ensure that the cinematic quality never dips. But beyond that, it fails to coalesce together into a whole that makes the audience ruminate on the actions that fall between black and white. Instead, it leaves us perplexed by the characters and the psyche behind their actions, making it tiresome for the viewers who are left to put the pieces together towards the end of the film.

Even with all the blood, the disgust, uniqueness in the murders and the non-linear screenplay, put together, the film fails to provide a gripping narrative. The final impression that Bayamariya Brammai provides, is as ambiguous as the title itself—like a delusion that never ceases to provide meaning to life or the events of the everyday world but a delusion nonetheless.

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