WATCH THE TRAILER HERE
First, the Recap:
Research. Experimentation. Assessment. Implementation. Observation. Analysis. Conclusion. All the primary factors associated with those attempting to create that which they believe could change the course of humanity’s progression while, of course, manifesting potential for high monetary gain. However as is so often the case in such endeavors, what is the real price paid, and by whom, for supposed beneficial achievement? For three steadfast and accomplished empiricists, Chris (Danny Sura), Krishna (Abid Anwar), and Anand (Smokey The Ghost), the moment of truth has arrived as they make the play to test a newly formed device that could change history, demonstrating it for an unscrupulous businessman named John (Alexx O’Nell). But, when an innocently unaware woman named Rani (Tannishtha Chatterjee) stumbles into their experiment, it sets off a chain of events that will alter her reality, and all of theirs, possibly forever.
Next, my Mind:
Coming off its official World Premier at the 2021 DFW SAFF the week before (where it won Best Feature!), this indie film created by industry-experienced but first time filmmaker, writer/director/producer Rajaram Rajendran, took on its NYC Premier next as part of the 2021 NYC South Asian Film Festival sponsored by Toyota USA and hosted by Festival Director/Jingo Media Founder Jitin Hingorani and Artistic Director Ambica Dev. Choosing to explore a genre hardly, if not at all, associated with the South Asian film community, science fiction, what this critic first must say is that I always applaud the indie film ranks for being willing to take the chances with outside-the-box ventures like this, as that element alone DEFINES the very nature of independent cinema at its core. That stated, the second thing I need to point out is that I also like being surprised BY a project that isn’t “the norm” stylistically being strived for. I am very pleased to say–this is one amazingly well-executed debut effort and was well worth the risks taken to step out and make it.
Focused on a small group of ambitious researchers on the cusp of presenting our world with an unparalleled ability to recapture and reform events in the past while also trying to fulfill the desire to please a primary client, the film initially began with a pace and very vague narrative path that, admittedly, had this critic seriously starting to have doubts about the film’s ultimate validity, much less overall ability, to keep me engaged. However, slow burn IS also a staple of indie film character and story-driven offerings, and once events portrayed lead to a series of happenings that go greatly awry, utterly upending one woman’s entire existence and the subsequent choices that are then required to right it all, the film suddenly became the wholly effective, intelligently designed, fully entertaining sci-fi romp I absolutely appreciate and was completely entertained by.
We are propelled into a realm of alternate timelines, realities, outcomes, revelations, and possibilities that deftly make us as a viewer ponder the notions of just how often we look to our past mistakes and wish we could go back and “fix” them, but then are given the illustration here of how the ripple effect and consequences of having said ability made real might not actually have the results we want. Many times, certain things just cannot be fixed. In this case, the film also addresses the concept of ending up with a crisis of conscious on the part of those responsible for the proceedings and realizing that it isn’t perhaps wise to mess around with other people’s lives in the name of what ends up amounting to shameless self-promotion and greed, therefore having to make a stand against those who don’t care about anything BUT those facets, even to the extent of putting one’s own existence in peril. Again, this is all conveyed in the film to excellent degrees and it I love the fact that so much of South Asian film carries with it social awareness and applicable life lessons amidst the fictional aspects.
What then makes the film even more wonderfully impactful is the magnificently astute finale that both allows for a very apropos resolution to all we’ve witnessed but then leaves us with what I felt was a beautifully conceived twist that allows our imagination to run amok with all it could signify for the story. Can I just go ahead and say it–a sequel, perhaps? The visual presentation here is direct and accessible, not having to rely on overtly grandiose special effects to deliver its intent and messages across, which was a very welcomed characteristic the film deserves much credit for. Additionally, the music score elicits that “sci-fi mood” as well, creating the aura of heady, atmospheric wonder that a genre piece like this requires. It just goes to further illustrate the innate strengths of indie film and the concentration ON character and story development rather than just mindless bombast, and it’s the grander methodology this critic wishes to see get a lot more recognition and acknowledgement. This film is a fantastic start for South Asian sci-fi.
DFW SAFF and NYC SAFF darling Chatterjee simply remains a full force of nature when it comes to the characters she plays on screen (much less the equally amazing abilities exhibited behind the camera as well!), and she yet again provides us with an affecting, passionate, realistic, unreservedly relatable performance in her role as Rani, a strong but unassuming woman who ends up in quite the extraordinary circumstances. Once she comes upon the experiment in question and then unexpectedly turns into a part of it, Rani’s very actuality is literally, figuratively, and drastically transformed, ushering her into an unsettling journey that will see her make decisions to rectify occurrences impacting her newly altered state of being. It’s such a mix of ever-fluctuating nuances wrapped in a dynamically shifting storyline, and Chatterjee’s navigation of this is so stirringly intense throughout, delving into Rani’s emotionally and physically tumultuous voyage with such raw, grounded poise, grace, and as indicated above, plausibility.
This was my first time witnessing Sura in action, and I must say I personally feel this is very much an actor whose star is fully on the rise. Through his role as Chris, the head researcher whose excitement and purpose in unveiling the creation in question soon reaches a point of questioning the rationality of what has been revealed through their test and the actual ramifications of pushing the limits of “playing God”. Throughout, Sura very acutely addresses the character’s plight with full credibility and strongly executed acting. Likewise, this was also my first encounter with O’Nell, who very judiciously creates that character you love to hate through his role as John, a shady, often ominously silent businessman whose only real concern about the experiment beyond its testing are the dollar signs he pictures–no matter what the price paid by others involved might be. Never backing down when others start doubting the motives behind furthering what their product delivers, O’Nell embodies this ultimate villian with muted yet potent intent.
Anwar and Smokey the Ghost add both a touch of humor and additional dramatic instances as the team’s other two partners, Krishna and Anand, who more often than not tend to find themselves on the receiving end of orders barked at them by Chris or John, despite their evident intelligence and know-how. Basically lackeys, but both the actors give sound performances to each character that allows them to remain in the spotlight along with the others. The primary supporting appearances are made by Asif Basra as Rani’s illness-stricken father Manoj who plays a key part in Rani’s dilemma, Zahoor Ahmed as Manoj’s scheming brother, and Shweta Desai as his brother’s wife, both of whom also represent highly important factors in the underlying narrative. All performances, even if brief, still demand worthy attention for this critic. In total, “Rani Rani Rani” is a smartly orchestrated debut into what we hope will be continued consideration of the sci-fi category in South Asian indie film efforts, with this being a more than worthwhile model to emulate in order to do so. It’s proof positive of the style’s legitimacy and substance, so we shall see what the future establishes for Rajendran and company who are off to a fully viable start.
Miss viewing “Rani Rani Rani” at either physical festival? Worry not! Check out the film online as it currently screens as part of Virtual SAFF 2021!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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