WELCOME HOME MARATHI MOVIE MOVIE
Instead I got a closeup of mashed brains, a cow on fire, and machetes eager for skin to claw into.Latest Bollywood Songs Shershaah Movie | BellBottom Movie | Easy On Me Movie | Bad Munda Movie | Thalaivii Movie | Mimi Movie | Justice Movie | Sanak (Original Motion Picture Soundtrack) Movie | Just A Notion Movie | Shiddat Movie | Hum Do Hamare Do (Original Motion Picture Soundtrack) Movie | Top New Hindi Songs Raataan Lambiyan (From "Shershaah") Song | Tumse Bhi Zyada (From "Tadap") Song | Jugnu Song | Dil Galti Kar Baitha Hai (Feat. I wished for the jump scare prodded on by the excitable score. In carefully and patiently plotting its gore, it forgot its horror which was what made the film exciting in the first place. There’s a strict delineation of genres, careful to not step on one another’s toe, and this was where I felt the film lose its grip. Most of the horror happens at night, and most of the gore happens in daylight rain is a bad omen. The setting retains its daylight and bright marigolds to dot the landscape. It doesn’t become shrill and the flourishes of naturalism kept me engaged, even if not involved. The performances are rooted to the genre, reacting first to the horror then to the gore. You are reminded with an epilogue on screen citing statistics of abuse. Somewhere in between the bludgeoned brains and the casual rape, you forget that there is some kernel of truth here. There’s an emptiness to the film’s conclusion that doesn’t tie back to the worst thing one can read at the beginning of a horror film, “Inspired by true events”. So at the end of a film, I need to feel that my squirming, and uneasy clasping of eyes was worth it. I have never bought into the idea of gore-for-gore’s-sake. Now, the problem with gore, for me, is that it needs to feel justified. Then, we see Neha being chastised by her elder brother for coming back late, and the following day she is armed with both sleeves and a dupatta. Anuja, spectacled, has both sleeves and a dupatta, reticent and wary. When we first see her she is wearing a sleeveless kurta, without a dupatta. Neha, at first glance, seems smart, as a woman who would evade such a destiny. Anuja confesses that though her mother would be routinely violated, she would always stand up for Anuja.
Mid-way while the film is transitioning from horror to gore, Anuja and Neha are having a conversation about what it means to be a strong woman. Both were raised in households where the father routinely hit the mother, and this generational cascading of misogyny doesn’t dam. Anuja is battling her father and fiance, both of whom insist that she leave her job. It sheds its horror to become gore.īut what binds the two halves is the feminist underscoring. They articulate themselves in the second half, by which time the film swerves genres. A lot of these horror portions are propped up by unspeakable horrors that haven’t found voice yet. I didn’t mind its obviousness so much because it was effective. The 2 hour film begins as horror, the background score, and slanted camera in overdrive, almost announcing its genre. Anuja and Neha leave after taking the requisite headcount information for the census, but the gnawing intuition makes them come back, and all-hell-breaks-loose. They first encounter Prerna (Tina Bhatia), pregnant and anxious, who throws a line casually about how all her children die anyway. It is the story of two census takers, Anuja and Neha (Kashmira Irani, Swarda Thigale, both bronzed beyond belief), who, in attempting to unearth the shady ongoings in a deserted house, become embroiled in it. Welcome Home a Marathi film makes you ask similar questions.
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