A long-awaited Saanmuu production debut, Born Sinner is a movie filled with fresh conceptual vision; it aims to highlight the perpetuation of the immigrant struggle from a new angle. Focusing not on the suffering caused by governments’, strict border controls, or war-torn countries, it follows the stories of former immigrants themselves who have settled into a new materialistic world and are now seeking to turn others powerlessness into profit.
The film follows the story of idealistic Kurdish immigrant Aryan (Bawar Jalal) who is seeking a new life overseas, one in which he can aid his family and Sam (Sanmugan Satheesan) a Machiavellian former immigrant turned smuggler who is gunning to topple the hierarchy of a smuggling ring run by the no-nonsense Kabir (Amanvir Singh). What ensues is an unrelenting power struggle between the innocent and the damned.
The film’s main themes draw inspiration from the famous quote shown in an initial title screen by the late Oscar Wilde who wrote ‘“The only difference between saints and sinners is that every saint has a past while every sinner has a future.” The depth of the quote casts light on prospective character arcs throughout the film. Aryan is the pure saint-like figure whose idealism has no place in this present exploitative world. This is the same world which provides the backdrop for the future of the unremorseful ‘sinner’ Sam.
Upon initial showing of trailers and posters, I admittedly didn’t know what to expect; the film seemed to have a dual nature. It appeared to be a fusion of urban city landscapes and grotesque Keith Ledger-esque horror. After viewing however I saw how these snippets were a reflection of the ambition of the directors to fuse drama and violence. The use of the Joker horror aesthetic is an obvious nod to the dark world of Gotham; it borrows the face of one of its most villainous chaotic characters as a reflection of the immorality and violent power struggle within the world of the film.
I was also impressed with the film’s opening hard hitting monologue, which pays homage to the monotony and expectations of everyday life. It emphasises the desensitising nature of a rat race mentality that is so easy to be lulled into. Expectation is a theme that is also wonderfully toyed with as the film deftly explores illusion and delusion. It screams; ‘the world is dark, there is no hope, and things are never as they seem’. The use of dramatic horror elements throughout this hyper-realistic setting seems at first dissonant, but settles quickly and comfortably to sustain dramatic suspense and drive the action of the plotline. Aided by clever editing its overall execution is strong.
It may be questioned as to what the importance of Born Sinner is, especially in a socioeconomic climate where immigration is a hot topic. I feel its relevance is paramount as it shakes the problem right down to the core; the root of suffering from its raw elements: greed, the blatant dehumanisation of the innocent and our apathy to violence. The main crux of the film is that suffering is irrespective of location when the real problem is the dark nature and within ourselves. It then comes as no surprise that the plight and hardship of those seeking an escape continues oversees. This message of corrupted human nature is captured several times in the film, all the way from major character such as Kabir and Sam to minor characters such as Aaron’s father with his gambling addiction. Aryan is the film’s symbol of hope and his hopelessness is captured by a particular poignant scene where he leafs through his meagre pay at the end of a shift. Contrast this to Sam’s demand of his share of the money in opening scenes, and it’s plain to see the scale of imbalance and injustice that the film aims to tackle.
Symbolism is tactfully deployed throughout the film. There are statues of Buddha after fight scenes, the Joker figure who wreaks chaotic havoc within the smuggling ring, repeated phrases and lines and visual elements and gestures. These symbolic devices pay homage to a well-thought out storyline. However some weaker aspects of the film include the lack of female character development, and its objective male gaze. Despite this and excessive fight scenes, the film reveals glimmers of a cleverly woven vision with sharp editing. In one particular scene Sam mentions how he isn’t happy with his ‘cut’ of the pay, to which the film quickly cuts into the next scene.
In conclusion, Born Sinner has been two years in the making and props have to be given to the effort of the team and especially the actors, Sanmugan Satheesan, Amanvir Singh, Aaron Sira, Bawar Jalal, and Jonny Jin, for convincing performances. What it lacks in character development resolution, it makes up for with a punchy and at times humorous script. The film draws attention not only to the condition of immigrants after they’ve arrived, but also to wider themes such as the colonialist mentality of exploitation owned by those already living there. This could be teased out more, but the overall message is not lost; the gap between innocence (being born) and depravity (being a sinner) have been inexplicably closed until the lines are blurred. There is a poignancy in bringing a film like this which highlights the struggles of power and innocence into the world at this time. Born Sinner isn’t perfect; it’s jarring at times, and its delivery could be smoother in places. However it succeeds at being a dizzyingly clever fifty-five minute bullet aimed at revealing ambitious greed in all its twisted glory, and with the unforeseen dark twist in the last scene, I’d say it hits its mark.
