Indian cinema is increasingly exploring the theme of violence. Many recent films are filled with gore and brutality, often raising questions about their relevance to the plot. One famous example is 'Animal', starring Ranbir Kapoor and directed by Sandeep Reddy Vanga, which was released last year. This film received mixed reactions and sparked discussions for its portrayal and glorification of violence, as well as its depiction of toxic masculinity. In contrast, 'Kill', directed by Nikhil Nagesh Bhat and released on July 5, offers a different take on violence. It shows violence as unjustifiable and highlights its horrific aftermath.
'Kill' has been turning heads since it hit the screens, and it's easy to see why. This isn't just another action flick- it's a pulse-pounding ride that’s definitely not for the faint of heart. The film plunges you into the high-stakes world of two commandos who must fend off a brutal gang of dacoits on a moving train.
Now, while 'Kill' and 'Animal' are worlds apart in terms of storyline and style, they both dive deep into the theme of violence. 'Kill' doesn't hold back, showing the sheer brutality and devastating aftermath of violent acts in a way that's both shocking and unforgettable. On the flip side, 'Animal' uses violence to boost the hero’s larger-than-life persona. The protagonist wears his ruthlessness like a badge of honour, his merciless nature a twisted testament to his obsessive love for his father.
In 'Animal', Ranbir's performance as Ranvijay is both chilling and unsettling. Ranvijay sees himself as a god-like figure, a belief that borders on delusion. For him, taking a life is as insignificant as swatting a fly. His casual approach to murder is disturbing, to say the least. His character also frequently makes lewd, sexualized, and patriarchal remarks, especially towards his wife, and the director somehow attempts to justify this behaviour.
Here's where 'Kill' stands apart from 'Animal.' In 'Kill,' the hero is deeply in love with his girlfriend, Tulika (played by Tanya Maniktala), and is also dedicated to his duty as an army man. He understands that his priority is to serve his nation first. However, when a horrific event occurs, it brings out a more human and ferocious side of him. This is when the true chaos of the movie begins to unravel. While Ranvijay's killings are framed as acts of love, Amrit's (Lakshya) killing rampage in 'Kill' doesn't come across as justified. Instead, it leaves you feeling uneasy and scared.
There is also a sense of moral compass that comes into play when you look at both movies. In 'Animal,' there's no clear distinction between good and evil; everything seems drenched in malevolence. Watching people get slaughtered in the most gruesome ways leaves the audience numb and detached. In contrast, 'Kill' engages the audience in differently. You find yourself wanting the villains to get their comeuppance, much like a boomerang effect: the more they throw out, the more you anticipate it coming back to hit them.
Even then, there's a question of when a line should be drawn regarding excessive violence. Nowadays, the line for too much violence seems blurry, as nothing is considered off-limits. From slicing people with machetes to beating them into a pulp, it all seems acceptable. However, 'Kill' leverages this with a sense of shock value rather than evoking sadness. The film thrives on pushing the boundaries of violence, keeping the audience in suspense about how far it will go. In the end, there's a powerful scene where Raghav Juyal's character stares at Lakshya's character in sheer shock and tells him, "You're not a protector, you're a monster." This reaction encapsulates how we should view violence.
The ability to handle violence in a film lies in the hands of the writer and director, and 'Animal' and 'Kill' are two extreme examples of how perceptions shape the portrayal of such strong themes.
