Throwback To The Time Bhuwan KC Almost Blew Up His Son In A Movie
Making movies is a complex art form. You have to get it right on so many different dimensions — from the story, to the cast, to the visual aesthetics. The Nepali movie industry in particular has had a pretty long learning curve, say the least.
Why else would we have so many Nepali movies that make so little sense? For us, watching absurd scenes from Nepali films has become like a national pastime. With that said, let’s just dive into one of the classic examples with that one time Bhuwan KC almost blew up his paralyzed son in a movie.
The movie in question is Bhuwan KC’s 2008 hit, Ma Timi Bina Marihalchu. Bhuwan KC himself plays the role of a hardcore army major, Surya, who bravely fights threats against the country.
But while he is off fighting enemies against the state, his wife is casually being thrown off a balcony back home. Their son is unfortunate enough to witness the terrible tragedy and enters a catatonic state because of the shock.
So, major Surya comes to the only reasonable conclusion. He decides that putting his son at imminent risk of blowing into pieces is the only way his son is going to spring back into life.
The scene starts as Surya drives his son to a deserted field. The winds blow ominously as he unloads the wheelchair and carefully carries his son out of the car.
As he steps out of the vehicle, a soldier is fitting a bomb on the ground further ahead. Surya quickly orders him off the site, before the soldier can even ask what the bomb is for.
With a sad look on his face, he wheels his son Raju on top of the bomb. You really have to admire the resourcefulness of the film’s practical effects, as the improvised bomb looks like a spring with colorful decorations around it.
He then turns on the bomb’s timer with a click of his foot, walks away, and turns back around.
“Raju, tero chair ko muni BOMB fit gariyeko chha.”
So begins his motivational speech to bring his son back to life. Major Surya gives his son exactly 30 seconds to get off the wheelchair and run away — at the risk of blowing into smithereens.
“Uth Raju! Tah euta sipahi ko chhora ho!”
Meanwhile, his son Raju is trying his best to emote all kinds of emotions to his father, with just his face.
One can only guess what these emotions are, but our best guesses are abject fear and the shock of betrayal.
Cameras positioned around the scene gradually begin to cycle amongst each other, while the climactic music gradually reaches a crescendo.
Surya’s repeated pleas of “Babu!” and “C’mon!” don’t cut it, however, and he is forced to run in and save the child just in time.
Which simply begs the question — what was the point of putting this scene into the film, if the writers were not going to let it work? As viewers, we can do little but be amazed at the fantastic imagination that went into this movie.
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