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In the diverse and dynamic world of Indian cinema, the film Animal presents a unique case for examining the understanding of creativity. Animal, with its blend of Punjabi and Andhra cinematic elements, and its commercial success, must be studied to understand creativity and audiences.
At its core, Animal combines multiple Indian movie formulas, overwhelmingly amplified. The narrative is a kaleidoscope of familiar themes: the archetypal conflict between father and son, the dramatic trope of stealing the bride, the intense rivalry of warring cousins, and the portrayal of an untameable alpha male. These elements are interwoven with the ethos of village brotherhood, the intricacies of infidelity, and a nod to the patriotic ‘Make in India’ initiative, culminating in an inevitable climactic fight scene.
Ram Gopal Varma’s statement that Animal is the only truly original film from Indian cinema is a provocative and intriguing claim, especially from a filmmaker known for his unconventional approach to cinema. Varma’s perspective challenges the traditional metrics of originality and creativity in filmmaking. His endorsement of Animal as a paragon of originality might seem surprising, given the film’s reliance on familiar tropes and formulas. However, it also invites a deeper reflection on what constitutes originality in Indian cinema. Is it about crafting stories that have never been told, or is it about presenting familiar narratives in a fresh and unprecedented way?
Varma’s statement suggests a broader, more inclusive definition of originality that transcends the conventional boundaries of storytelling. It underscores the idea that originality can also be about perspective, execution, and the emotional resonance a film creates rather than just its plot or thematic novelty. This viewpoint opens a fascinating dialogue about the nature of creativity and originality in the rich and diverse world of Indian filmmaking.
Interestingly, many of my female friends found appeal in the film despite the critics’ view of the movie being misogynistic. This anecdotal evidence from personal circles starkly contrasts the broader critical reception, highlighting the subjective nature of film appreciation. It suggests that Animal might possess certain nuanced elements that resonate more profoundly with specific audiences. Also, like in their previous movie, Arjun Reddy (Kabir), the Vanga brothers bring out characters that are real and raw in their good and ugly natures.
My experience, particularly with the film’s second half, was less favourable, finding it disjointed and lacking in depth. While the film boasts commendable acting, great songs, and impressive cinematography, its overreliance on conventional tropes somewhat overshadows these positive aspects. In its pursuit to encapsulate multiple formulas, the movie risks diluting its narrative potency. Despite my criticisms, it’s important to acknowledge the film’s success with audiences. The packed theatres indicate that Animalhas resonated with many viewers, possibly due to its execution, performances, or how these familiar formulas have been interlaced. This success suggests that there is still an appetite for stories told within the comfort of known narratives, provided they are executed with a certain level of finesse.
Animal is a film that sparks a conversation about the nature of creativity in Indian cinema. It reminds us that creativity is not a black-and-white concept but a spectrum. While the film may not be a groundbreaking masterpiece in terms of originality, it does succeed in certain areas, showcasing the talent of its cast and crew. As we move forward, the challenge for filmmakers will be to find that delicate balance between tradition and innovation, familiarity and novelty, ensuring that the stories we tell are not just heard but felt and remembered. Animal contributes to this ongoing narrative, reminding us that stories are waiting to be told even within the confines of formulas.