In “Bhoothakaalam,” after her elderly mother’s death, a neighbour consoles Asha (Revathi)—a school teacher with clinical depression (which is further aggravated by grief)—that her stressful time is now over. Little does Asha know it’s only just beginning. She and her unemployed son, Vinu (Shane Nigam), find themselves trapped inside their rented abode with more than just their share of emotional baggage—a sinister presence lurks and feeds off the duo’s fears, insecurities, and mental instability. Out of the blue, paranormal occurrences continue to manifest themselves within the four walls of the house, resulting in emotional crashes, as well as Vinu questioning his own sanity. It causes the already-estranged relationship to fall apart further. Will life ever return to normalcy for the troubled mother and son?
With “Bhoothakaalam,” Filmmaker Rahul Sadasivan (who impressed audiences with the black and white folk horror “Bramayugam”) strips the horror genre of all its cliches and overstuffed jump scares. He instead devotes a majority of the run-time to exploring the real which the movie then connects with the unreal. Sadavisan also pulls focus to real-life fears, and the heart goes out to the characters’ struggles amidst bitter circumstances—such as Vinu constantly feeling pangs of guilt about not being present or living up to his mother’s expectations. It doesn’t help that Asha’s own failings as a parent arise. She comes from a generation that doesn’t quite understand the struggles of youth during job hunts, and is hung up on fighting her own demons and grappling with the after-effects of persistent grief.
Archetypal Imagery Throughout
Escaping stagnancy is another recurring theme in this allegorical horror with regards to career stagnation and an unsympathetic or numb approach to death. This is true even from potential employers who are quick to dismiss Vinu’s circumstances as a mere sob story, urging him to move on rather than stagnating in a fast-paced world. The Indian backdrop also sheds light on the alarming manner in which even developing countries sweep mental illness under the rug. This is hammered home in a scene when Asha stops her prescribed medication abruptly as she believes that she’s ‘cured’ of her depression.
The film injects common archetypes of the genre and imagery from ghost stories from one’s childhood to good effect. One example is the vision of a specter of an old lady with disheveled waist-length hair. Shadowy figures lurking in the doorway in the dead of night are noticeable too, albeit used sparsely and cleverly, with Sadasivan saving the best for last. He plays with tropes in the film’s first half before going full-throttle on the entity sightings in the final act. He keeps viewers on edge of their seat as the protagonists undergo a trial by fire that tests their bond to its limits.
Viewers are also thrown off with “Bhoothakaalam,” alternating between sounds of ghostly weeping and Asha’s genuine episodes of sobbing while depressed. This is amidst the film raising doubts over whether the apparitions are a by-product of Vinu’s alcohol addiction and worsening mental state, as we later see him starting a fight with a drunkard at the local tavern, but seemingly also thwarting invisible attacks. The location, too, proves to be an unorthodox setting for the horror genre since Vinu and Asha’s rented house is homey, inviting, and not at all shabby, thus heightening the unpredictability of the hauntings.
Single-Location Horror Done Right
There is also a self-aware component to “Bhoothakaalam” with the movie provoking thought on the definition of a haunted house. It also explores the intentions of people who willingly move into a house with a shady past. It also questions and whether a house can truly possess spirits, or are they just coping mechanisms to exorcise one’s own inner demons stemming from grief or guilt.
Perhaps it’s because I watched both films back-to-back, but this movie proves a good pairing with similar single-location horrors such as “The Taking of Deborah Logan” (minus the found footage concept of the latter) . That film also impressed with its subtle parallels between the progression of Alzheimer’s symptoms and demonic possession. Both films also aptly capture the shared theme of mounting psychological pressures on caregivers as they look after a family member suffering from a hereditary ailment/disorder. Further, both films also feature an antagonistic presence that preys on the mental health of the most helpless/feeble individuals and alongside sympathetic characters who can barely make ends meet due to a socioeconomic, financial issues. Like “The Taking of Deborah Logan,” the first half in “Bhoothakaalam” also fleshes out the protagonists and makes light of their circumstances, allowing the viewer to understand the characters better and immersing us in their rocky relationship.
Horror and Dysfunctional Families
Closer to home, we can see “Bhoothakaalam” as a spiritual successor to the Mamooty-starrer “Thaniyavarthanam” (1987). That film which was similarly praised for its imagery and nuanced take on the relentless grip of a seemingly ‘inherited family curse,’ dysfunctional family dynamics, etc.
The framing of shots in this movie too are impressive, with the empty spaces in the house highlighting the nothingness and stagnancy in the small household after the demise of Asha’s mother, and also add to the chilling ambiance. In another shot, we see Vinu drinking at a window by himself in a noisy tavern, amplifying his lonely and reclusive nature. A song break does prove to be a minor inconvenience of the movie as it momentarily disrupts the tone… even if its presence also proves to be a light break from the overall bleakness.
Fans of Rahul Sadasivan’s Work Will Love It
Playing Asha, “Bhoothakaalam” is a return to horror for Revathi, three decades since “Raatri” (1992). The veteran actress elevates the movie with her nuanced performance as Asha/Vinu’s Amma. She portrays both the grief-stricken daughter and the detached, unreasonable mother whose good intentions for Vinu only manifest themselves in a cruel fashion, instigating more arguments while leaving emotional scars. Shane NIgam ably supports Revarthi (he also serves as the film’s Music Director), playing the unstable son who seems to have inherited his mother’s unhealthy knack for remaining cynical rather than moving on and upwards in life. Nigam especially stands out in a scene wherein his character dances like a man possessed while drinking with his friends. He is reveling in a newfound levity, briefly free from both the claustrophobic house and his uptight mother. Rounding these out, Saiju Kurup delivers a formidable performance in a brief, pivotal role as the ‘outsider’ looking in—a counselor who is both sympathetic and genuinely curious about Vinu and Asha’s plight.
Overall, “Bhoothakaalam” is definitely worth a watch for fans of Rahul Sadasivan’s body of work. It offers a fresh perspective on the horror genre by breaking free with its novel execution. It not only evokes gasps of terror, but more so enlightens the audience on far more perturbing horrors that are omnipresent in reality too.
