When a director puts their heart and soul into a film, even the imperfections fade away and sometimes turn into a portrait of the earnest work and arduous journey they went through to complete it. In that regard, Sankagiri Rajkumar’s Bioscope deserves all the appreciation that comes its way.
Bioscope is essentially the making story of the director’s debut film, Vengayam (2011), which caught the attention and applause of a niche audience for how the story effectively hits out against superstitious beliefs. Bioscope is about the personal tragedy that drove the director to make Vengayam.
The film begins in Salem with Rajkumar, played by Sankagiri Rajkumar, and his family, who make a living through agriculture. Subsequently, Rajkumar’s brother is taken to an astrologer to consult about his future and is disappointed as the predictions point to a gloomy future.
Heartbroken, Rajkumar’s brother ends his life. Dreaming of becoming a filmmaker, Rajkumar is inspired by the tragedy that struck his family to make his first film, Vengayam.
Bioscope starts off as a film about film, before getting into social commentary. Rajkumar, with the help of his villagers, decides to make a film on a shoestring budget, trading off his own limited resources after he gets turned down by production companies. It is hard to tell apart genuine flaws from purposeful flaws for comic relief but that hardly stops us from enjoying the moments.
We quickly root for the protagonist’s team of assistant directors and cinematographers, composed of paatis and thathas, to win. The localising of filmmaking equipment like Karuvaachi (camera), Ottagachivingi (crane), Yerumamaadu (dolly), and Perumal Koil (thermocol), along with the faulty voice modulations, dialogue deliveries, and the villagers’ lofty cinema dreams, like Rajkumar’s grandmother nursing her dream of becoming a chief minister, were hilarious.
Another good writing choice was the obstacles that stop the narrative from being a straight line drawn on a ruler. The antagonists do not feel contrived but develop organically from situations that Rajkumar puts himself into. The hurdles were essential in establishing that Rajkumar and the thatha-paaties weren’t having fun playing with toys but were seeking an emotional closure from the trauma of losing Rajkumar’s brother through the process of making the film.
When Bioscope starts becoming predictable, Vengayam comes into the picture and we are shown glimpses from the 2011 film, as a kind reminder to keep in mind that Bioscope’s sole purpose is to provide answers to all the ‘whys’ of Vengayam. This is where the narration and our attention hit a slump. Since Vengayam was watched and appreciated by only select circles, the director should have put more effort into introducing it to those who are not familiar with it.
Another sore thumb in Bioscope is the subplot of the couple played by Alexander VJ and Pavina Joel. The transition between the filmmaking scenes and the scenes involving the couples isn’t smooth, leaving us wondering if they are a part of the main plot. The narration would have gone haywire if the subplot had been denied the clarity it gets in the second half. The confluence of Vengayam, Bioscope, and the subplot felt both cinematic and natural.
Bioscope is one of the rarest films about films that don’t end with the protagonist, who is usually a director, punching in the air after an overwhelming response from the audience. It dares to speak up about the taxing post-production phase that most films strangely remain silent about. It paints a realistic picture of filmmaking being a motley of successes and failures. Discounting its drawbacks, the film is likeable for beautifully balancing Rajkumar’s passion for filmmaking and the emotional reason behind his passion.
Director: Sankagiri Rajkumar
Cast: Sankagiri Rajkumar, Manickam, Vellayammal, Muththayi
Rating : 3/5