I am yet to experience a season as resolute in its
determination to usher in joy and merriment, as Christmas. Preparations for the
season commences months in advance, with nature, surroundings, and the bustling
marketing extravaganza all unequivocally signalling its imminent arrival—almost
a quarter of the year beforehand.
It felt like I was stretching a thin thread of happiness, even if just for a little longer than the single day most festivals offered— an entire month dedicated to a unique sense of joy every year. The sweet anticipation built up over those weeks, culminating in a day that made all the preparation worth it. Sriram Raghavan's latest creation, "Merry Christmas," echoed these sentiments for me. Despite knowing that things might be boiling bad somewhere in the background, the spirit of the season displayed, the carefully curated settings, and the art of storytelling compels one to fully immerse oneself and soak in the merriment for those precious, fleeting moments.
Yet, when has this erratic and seemingly malevolent life
ever permitted peace to endure? It's been seven years since the festive cheer
of the same season began to haunt me relentlessly. From the point of being
unable to step out of the house as the anticipation of the season sets in a
month before, to now being able to host a pre-season party well in
advance—indeed, daresay I have made modest strides in gradually liberating
myself from the excruciating cage that life once confined me to.
The seemingly harmless acquaintances and flirtations between Maria and Albert extend beyond the surface. Their conversations, though genuine, carry notably unspoken layers. Behind the facade of easy banter many truths are fiercely guarded by both the characters— one trying to protect newfound freedom, the other desperately seeking liberation. At the core of the movie there's an earnest need for a delicate yet potent portrayal of emotions, and Katrina Kaif and Vijay Sethupathy rise to the occasion, making their performance feel like a heartfelt conversation, resonating with the authenticity of human experience.
Aanand L. Rai, with "Zero," uncovered a raw, unfiltered side of Katrina Kaif, which stood out as the sole silver lining in the latter part of that film. After a significant break, Sriram skillfully taps into that deep, human essence in Katrina through Maria, and she delivers with brilliance.
Vijay, renowned for his acting finesse, brings Albert to life with a delightful mix of sweetness and nuanced hesitancy, effortlessly capturing the audience's hearts. Following a succession of villainous roles, his return to the sweet, relatable, yet intricately dark character of Albert feels like a welcome breath of fresh air—a truly refreshing and heartwarming experience.
Crafted from Frédéric Dard's 'Le Monte-charge,' the film
weaves a compelling and intriguing storyline, that captivates the audience, for
the majority of its duration. While there are moments that may prompt
questioning of the necessity of certain dull interludes, stay with those moments
and later you'll find the film's allure unfold, making it a truly engaging
cinematic journey. As someone who's enchanted by the old-world charm of the
city, the moment the screen paused to declare 'Mumbai when it was Bombay,' I
knew I was going to fall in love with the movie. The cinematography by M.
Neelakandan is nothing short of brilliant, seamlessly weaving into the tapestry
of Easter eggs that Sriram's narratives are known for. For cinephiles and
melophiles alike, this movie is a true delight. References from classic Bollywood
movies and Western classical music play roles as significant as any character
in the film.
"Merry Christmas" for me, encapsulates the essence
of life and its seasons of joy perfectly. You yearn to be joyful, or at the
very least, pretend to be, yet life's looming traumas deny the luxury of
sustaining that façade indefinitely. Inevitably, reality intrudes, and if
you're fortunate, you manage to gather some moments of love and hope along the
way.
On the night of Albert's return to Bombay, his friendly
neighbor, played by Tinnu Anand, hands him a bottle of homemade wine named
"Yadhoom." He proudly claims to have invented the term, asserting
that it's meant to capture the essence of that moment in life when everything
falls into place, when life starts to make sense. Perhaps, with "Merry
Christmas," that's precisely what one should do—take the time, savor the
narrative like a fine wine, and patiently await your "Yadhoom” and just
like a finely aged batch of wine, it won't disappoint you.
Try and catch the movie in a theatre near you. Remember to
be safe and wear your mask.
