WATCH THE TRAILER HERE
First, the Recap:
To be a pawn. Used by outside forces which have, voluntarily or otherwise, taken complete and utter control of us, how often is it that we come to the realization the fault is our own blindness, our own ignorance, our own indifference to the consequences of certain actions that have lead us to become a puppet to urges whose only result is affliction? When ascertaining the damage done, is it too late to break free of that which holds us prisoner? Waking up dazed, alone, and in less than hospitable-looking surroundings, Thomas (Vigil Bose) makes every attempt to figure out exactly where he is and why he now finds himself bound to a chair in a dingy, shadowy room.
Finally bringing himself around to total awareness, Thomas’ confusion doesn’t diminish as he strains against the ropes that embrace him, a desperate series of motions to gain liberty from them. However, his struggles soon cease upon hearing the voice and catching his first glimpse of his captor, an ominous, menacing, yet strangely calm and collected man known only as Mr. C (Motti Tadmor). Sneering but possessing a calculated steadiness in his demeanor, Mr. C glibly listens to the protestations Thomas puts forth in trying to know answers to his captor’s motivations behind the abduction and subsequent confinement. But, Mr C only reminds Thomas about their shared past, a reluctant future, and the deadly ramifications of their friendship which threatens everything Thomas holds dear.
Next, my Mind:
With only a 12-minute runtime to grab the attention of the viewer and maintain it consistently while encompassing a full storyline to boot, this short film effort from writer/director Ganesh S. Bhat is executed with a devilishly intelligent, clever, and highly unique narrative approach that pulls the viewer into a guessing game about what is transpiring only to deliver an equally impactful, evocative finale that makes one hugely relevant statement about its ultimate thematic purposes. Taking the concepts of captivity, internment, incarceration, or any myriad of other descriptors that indicate the state of being held hostage and then turning them on their head, the film wastes no time in presenting these notions in a smartly written package that has you thinking one direction at first but then throws it all down a totally alternate path, putting the film’s real objectives into focus with deftly delivered, transformative influence that emphasizes its primary points without making it obvious in any way what those ideas are until the perfect moments that allow for the highest level of effect and sway on the viewer.
This particular tale is a potent reminder about the dangers of becoming involved in things we think are helping us, that we believe will bring peace or satisfaction, when actually it turns out they’re only directing us down a road to ruin, whether physically or spiritually. The film does such a wonderful job at visualizing this, utilizing a beautifully orchestrated mix of wordplay and imagery via the antagonist here to illustrate both the specific and grander postulations being explored. As human beings, we are so prone to being unduly persuaded and, dare I say, manipulated into complicity with dubious circumstances and/or undertakings that soon we’re in way over our heads and thoroughly ensnared to the whims of these things to the point of immobilization, which as mentioned above, is so skillfully traversed and exhibited here throughout the film’s abbreviated runtime.
Due to the nature of the account being displayed, the actual visuals are purposely uncomplicated and straightforward so as to keep our focus on the story and characters themselves, which is so often necessary with independent cinema, and very welcomed by this critic because of that exact point. Plus, a film with a message like this that’s so needed and pertinent is always valued as well. Additionally, another facet of these events that depicts how deep we get into trouble is shown via how once we’ve made a choice to try and escape what’s holding us, it relentlessly pursues us, refusing to let go, and making every effort to assure us we won’t be complete without involving ourselves further, while likewise being prompted to recall the aftermath of what the partnership has wrought. It’s our humiliation, loss of control, perceived ultimatums, the insidious power of rationalization, and the justification of our actions all wrapped up in the lamentations of that which we’ve left behind feeling slighted and wanting back its grip upon us.
Bose embodies the inner and outer turmoil brought about by this battle against his own poor choices and strivings to find release from them through his role as Thomas, a regular Joe caught up in events that never should have been encountered or followed after, now facing the realities and repercussions birthed from them via a villian looking for retribution against his former accomplice. Anguished and only wishing to be away from the association once and for all, Thomas makes all exertions possible to break away, but finds that his captor might be more than willing to do that–for a price that is both a present threat and an established, heartbreaking promise for Thomas’ future. Whether Thomas will ever be able to truly find the emancipation he seeks is still left to a certain level of conjecture, which is a very constructive narrative option here. Bose is believable, grounded, and wonderfully suited to play this character who’s fighting for independence in multiple ways even while facing hard truths.
Likewise, Tadmor brings about an articulate performance in his role as Mr C., who is much more than he appears on the surface. Hiding behind a fairly normal exterior, his cold, calculating heart and embittered manner towards Thomas is filled with such overt venom tinged with the “sadness” of losing a valuable partner in the schemes he’s wishing to re-invest in with the aid of who we now clearly see is more a slave to him than a true collaborator. Preying upon his captive’s fear of violence or torture, Mr. C makes a rather unanticipated move that baffles Thomas until it’s made abundantly clear that the action, while seemingly merciful at face value, may end up holding an even greater burden over Thomas than any other intimidation or attempt at further emotional machinations might accomplish. It’s really a diabolical character, and Tadmor milks every moment of it with snarling bravado and sincere intent throughout the film, which always helps make us as the viewer love to hate the bad guy in a film.
In total, “Chained” is very much a magnificently distinctive short film effort that carries its message’s weight with well thought out ambition, astute delivery, cautionary tale leanings, and smartly-acted characters all while maintaining that level of engagement and entertainment value that makes independent film the consistently enjoyable medium it is.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
