Currently watching: Dracula Sir (2020)
Cleverly christened as Raktim (literal translation: blood), the misunderstood and very human protagonist of 'Dracula Sir' is a high school teacher who is rebuked for his dracula-esque fangs by both his students and peers alike. Unable to live with the mockery, he seeks to end his life, but in a strange turn of events, begins to instead envision himself as the second coming of Amal, a martyred communist from the 70s.
Despite a premise that's stranger than fiction, the surrealistic touches in Dracula Sir are actually its strongest attribute and infuse it with realism, thus driving home a message that's far more grounded in nature. Instances of the same include the use of fog/smoke wafting in that's utilised as a recurring imagery to connect the muddled ideologies of a long-dead communist who loathes himself for his cowardice with the equally conflicted mindset of his present-day and very much alive doppelganger who lives a self-imposed life of a social paraiah. And later, the imagery of Raktim's towel transitioning into a cape as he freely twirls around in the latter rather than hiding behind it or cowering in the shadows, equally compelling in itself as it further immerses audiences in the young man's journey marked by sorrow, paranoia and as he is jolted in and out as well as jerked around by both fictional and non fictional forces through his healing process.
The movie also takes aim at the hypocrisy and double standards of the 'bourgeois' who despite talk of civilised society hardly ever strive to create safe spaces or stride towards accepting individuals who are even slightly 'different' or 'offputting', even chastising them- Be it in terms of their political differences or physical appearances, with parallels drawn between Raktim choosing to conceal his oddities until a kind dentist suggests he embrace his strength, and Amal hiding away in attics, fearful of the authority after witnessing his fellow comrades face the gallows. In both instances, these characters, along with a minor but pivotal character of Raktim's landlady (herself a victim of prejudice and at a risk of being taken advantage of by an older lustful landlord due to her status as a widow) display a yearning to be rescued, or for a savior/situation who holds a key to them escaping the unjust realities of life.
A majority of the storytelling is elevated by the use of songs and a background score (composed by Amit- Ishan, Saqi Banerjee and Durjoy ), that lends meaning without need for too much dialogue. 'Dracula Sir' however suffers from some needless over-explanation particularly in sequences wherein a less is more approach would have suited the narrative far more, and the direction by Debaloy Bhattacharya is occasionally sub-par.
The performances by the lead pair are effortless, with Anirban Bhattacharyya breathing life into the sympathetic, gullible Raktim with his simply adorable expressions and without overdoing the theatrics, while Mimi Chakraborty exudes grace as Manjari, Amal's 'partner in crime' from another lifetime. The duo's beautiful chemistry in both the contemporary and period piece setting is another aspect that carries the story forward.
'Dracula Sir' is certainly well-worth a watch for its interesting, subverted and more offbeat take on campy reincarnation romance tropes often reminiscent to popular Bollywood fare such as 'Om Shanti Om', and will also captivate audiences who prefer movies that address far more complex psychological elements (such as the underappreciated 'Gali Guleiyan'). It also holds plenty of re-watch value to catch the nuances and for viewers to ruminate over an unexpected twist that I won't reveal here...of course, as long as one doesn't mind sitting though a few graphic/squirmish sequences or doesn't have a phobia of blood.