#thebogeyman

Just doodling a few of my favorite baddies. It's always a great day when I manage to crawl out of the depths of exhaustion and lethargy to actual draw! :3

Mikey boy, just because 🖤👌🏻 #thebogeyman #halloween #horror #horrorhound #horrorfan #slasher https://www.instagram.com/p/ByOLq2WAYIS/?igshid=v6qdrdkbrjud

Oie ya solo quedan 2 días pa saber como escapa! #johnwickposting Foto por @malakies27 #johnwickcosplayer #thaboogieman #thebogeyman #keanu #johnwick #johnwick2 #johnwick3 #johnwickchapter3 #johnwickmovie #johnwickparabellum #johnwick3parabellum #keanureeves #johnwickcosplay #cosplayphotography #cosplay #cosplaychile #cosplayerofinstagram #tactical #babayaga #barrettm82 https://www.instagram.com/p/BxdVAU2F8Pz/?igshid=df9s8gz4fqch

As in Esthappan (1980), children make their presence strongly felt yet again in Kummatty (1979). Another half mystic half real figure like Esthappan, the Bogeyman recalls the fantastic masked characters from Tomu Uchida’s Mad Fox (1962). Japanese film critic and historian Tadao Sato who had previously written on Tomu Uchida’s films was a fervent admirer of Aravindan. He was particularly fond of Kummatty and showed the film to Shohei Imamura who was ecstatic about the film. He was also instrumental in organizing what was the first comprehensive retrospective of his works at the Fokuoka Film festival in 1991. Working with fantasies and folktales, Kummatty is a fable-film where the protagonist evokes the arrival of spring. In Aravindan’s films the relationship of man and nature acquires various dimensions, while in Kanchana Seeta the moods of nature affirmed Sita’s presence to Rama, here Kummatty himself is the harbinger of Spring. In one of the truly breathtaking sequences in the film, Kummatty has transformed the children into animals who then dance around him in the vast expanse of an arid land. This is also the film where Aravindan’s theater and dance background cast an unmistakable shadow. An integral film in his oeuvre.

"I met him, fifteen years ago; I was told there was nothing left; no reason, no conscience, no understanding; and even the most rudimentary sense of life or death, of good or evil, right or wrong. I met this six-year-old child, with this blank, pale, emotionless face, and the blackest eyes... the devil's eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply... evil."