The Godfather as a movie has been inspiring filmmakers across the globe even today. In India there have been many variations of Godfather which have been made right from Feroz Khan’s stylish Dharmatma, to Mani Ratnam’s gritty Nayagan, to Ram Gopal Varma’s Sarkar.Continue reading “Bheeshma Parvam (2022) Malayalam Movie Review: When The Mahabharata Meets Godfather”
Nayattu is a tale of the hunters being hunted. We have 3 cops, a by-election and hit-and-run case, and the death of a Dalit, this makes for an interesting concoction for Martin Prakkat’s new film.
Malayalam , 2020
Cast: Anna Ben, Roshan Mathews, Sreentha Bhasi, Sudhi Koppa,
Music Sushin Shyam
Written and directed by Muhammed Musthafa
streaming on NETFLIX
Continuing the golden run in recent years, Malayalam movie industry dived into 2020 with a bang! Right up in January the thriller Anjaam Pathira took the box-office by storm, and the next month saw the arrival of the widely appreciated Ayyapanum Koshiyum. And in the month of March, a small little film titled Kappela quietly came to the big screens and instantly impressed audiences. It was unfortunate though that the movie did not get its due cause of the immediate lockdown measures put in place.
Kappela (meaning Chapel) is a neatly packaged movie from actor Muhammed Musthafa who is making his directorial debut with this venture. Musthafa, who over a decade has become a familiar face in Malayalam movies shows that he has some tricks up his sleeve when it comes to writing as well. Because his sharp and creative screenplay is what works for this, otherwise simple looking film.
Much of the credit goes to the smart casting and leading from the front is Anna Ben. This actress after the highly impressive roles in Kumbalangi Nights and Helen, once again charms literally carrying the entire movie on her petite shoulders. In Kappela, she plays Jessy, a a simple naive girl from an orthodox Christian, residing in a high range village in Wayanad, Kerala. Having flunked her exams, she really haven’t any high ambitions set for herself in life, and goes about her routine life, with rather modest desires. Like something as simple as a visit to a beach.
Jessy’s life gets interesting when she ends up dialing a wrong number one day. The voice at the other end belongs to a Vishnu (Roshan Mathews), an autorickshaw driver. Soon it leads to more calls between the two, and before you know it, a romantic relationship brews between the duo over these regular phone calls.
The two decide eventually to meet each other in the city of Kozhikode. But what should have been a simple rendezvous gets complicated when in walks a third character, Roy (Sreenath Bhasi) into the equation and the lives of this couple will never remain the same.
Telling anything more would be spoilers because the strength is in the screenplay taking you places which you do not expect it to and Musthafa the writer makes the job easy for the director in him. He shows how an ordinary tale can be spun to effective results, without going all flashy or in-your-face. It also holds back from being preachy or taking any moralistic high stand when it comes to dealing with its characters and situations. For a minute, you would even think this is going the way of last year’s Shane Nigam starrer Ishq and we are going to get yet another round of the clash of male egos.
Sreenath Bhasi and Roshan Mathews does a good job in their respective roles, going at each other’s throats. Having to walk on this fine thin line of characterization, the two pulls it off with aplomb. But as mentioned the real heart and soul is Anna Ben and she emerges extremely confident in her craft, adding this one too as yet another feather to her short but impressive filmography. She gives the needed relatability to the character of Jessy, grounding her in earnestness. Able support also comes from the rest of the cast that includes Sudhi Koppa, James Elia, Nisha Sarang and Tanvi Ram.
Sushin Shyam’s delightfully wonderful score and Jimshi Khalid’s captivating frames enhances the movie, enriching the experience, supporting Mustafa’s vision.
With a refreshing take that toys with one’s perspectives, Kapella is another small yet impressive work that once again shows that the Malayalam industry is indeed in promising hands. And this gives us a prime example, how boundaries of storytelling are constantly being pushed despite all the seeming limitations.
– Joxily John
With all of us being confined to our homes for nearly 2 months or so, all thanks to the Covid-19 outbreak, we have seen our lives getting altered in ways that we had never anticipated and looked forward to. I have been someone who generally preferred the experience of watching movies in cinemas, not getting lured by the abundant content (films, web-series and much more) available on the numerous OTT/digital platforms that we have access to. Every few months I would ponder over trying to embrace the OTT platforms, but kept delaying the inevitable, only for this lockdown to finally bring in the transition in my case. So thus, I have been getting my daily fix of entertainment at home in the last couple of months, watching film after film, series after series. And in this process, I also watched Ranjith’s Drama (2018), a rare Mohanlal film in recent times that I had missed watching in a theatre.Continue reading “Mohanlal: From Narendran to Kunjali Marakkar IV, a Journey to be Admired”
The latest Malayalam thriller to stream on our home screens is Anjaam Pathiraa (the fifth midnight). Kochi the metro city of Kerala is shocked by a cold blooded murder of a cop. An investigation team is formed, with Anwar (Kunchacko Boban) who is a psychologist helping the team. Soon the cops realise that they are looking at a serial killer who is out to murder the cops.Continue reading “Anjaam Pathiraa (2020) Malayalam Movie Review: The Hunter and the Hunted”
If 2018 was a grim year for Kerala (with Sabarimala and floods dominating the mental and emotional space of people), 2019 has been quite a distressing year for the nation as a whole with the fervid protests rocking the public space across. At a time like this when the nation is going through a rather tumultuous churning phase, it is kind of awkward to pause the political scene and take a peep into the musical world of entertainment that has enthralled our spirits this year. But life must go on – governments will come and governments will go but the strains of music shall continue to touch our souls as all great art does….Continue reading “Top 50 Malayalam Film Songs of 2019: A Compilation”
An unfinished house. That is the image we get as the movie begins and that image is enough to put across to the viewers the stories of the pain and struggle of the people within.
In this case it is the house of the late Napolean’s four sons, situated in a small village in Ernakulam. We are first introduced to the youngest of the lot, Frankie (Mathew Thomas) who makes it clear about how ashamed he feels about his house that he has to lie in order to keep his classmates from visiting his place. In his words, ‘the worst house of the entire Panchayat!’
The oldest of this rather dysfunctional household is Saji (Soubin Shahir) who is content freewheeling on the hard earned money of a Tamilian he once had helped. Then you have the mute one, Bonny (Srinath Bhasi), who stays away from the squabbles of the house and would rather spend the time with his close bunch of friends. And the last of the lot is Bobby, played by Shane Nigam, who is a total loafer who cannot put the effort into anything. He runs away from anything that is described as a ‘job’. Even when asked if he is into drugs, his reply is ‘those things make you think. We cannot do all hat. We are free-birds’.
Simultaneously, we also get a peek into yet another household- that of Baby (Anna Ben) who works as a tourist guide at one of the nearby resorts. Her sister (Grace) has just married and we are introduced to her husband- Shammi (a brilliant Fahadh Fasil) who in his introductory shot itself looks to the mirror, setting his bold black moustache and announcing to himself, ‘Raymond- the complete man!’.
Though we do not get to know much of his past, we can sense the misogynistic and conservative upbringing of his. Even before he is introduced, there is his brother who gets visibly offended on being offered a lift on a bike, rode by a woman. With his father in law having passed away, Shammi believes he has a firm role to play as the ‘man of the house’. Truth be told, he believes he is the rightful hero of his tale. ‘Shammi, hero aada, hero’ utters Fahadh in one of the best lines from the film.
And in most cases, he would have been. But this time, Shammi is not the hero.
For the heroes of the stories are the women that walk into the lives of these men. They find a good human being even in the most laggard of these men. They see the beauty even in the most incomplete and unkempt of places. They bring hope to even those who seemingly have lost all of it. They also bring forth courage at situations where it really is called for. They turn out to be the true knights of this Kumbalangi village.
Hats off once again to Shyam Pushkaran. The writer has been giving us gems after another and here is yet another spectacular example of what magic even simplistic of writings can create on celluloid. Placing realistic characters in equally relatable settings, dipped with the local milieu turns to a feast for the viewers. And they are not the perfectly white and black characters that we used to. The characters are as flawed as you and me.
Even the villain of this enterprise, Shammi is not entirely wrong. He has a point when he questions the qualifications that the wayward Bobby possess to marry his sister in law. He is on point when he states that the chap cannot even afford to pay for his own shave at the barbershop. In another movie, he very well might have been the hero. Here we are asked to laugh at the moustache twirling man, rooted in misogyny and patriarchal conservatism.
Director Madhu C Narayanan could not have asked for a better debut. Every scene and every character come alive, even the short scene that the sons share with the mother. Joining hand in hand with the writer and the cinematographer Shyju Khalid, they bring such warmth and feel good factor to the proceedings. Commendable is how none of this ever seem forced into the narrative but flows in with a natural ease.
Speaking of flowing in, the same can be said about the songs in the movie. Sushin Shyam’s music blends in well with the setting and never feels out of place. Even when an English track forms part of the it. The theme music is something that will stick to you head much after the movie.
And the performances. How captivating are they? Shane Nigam is turning into a remarkable lead man who certainly have the charms and the acting chops. Sreenath Bhasi plays with limitations but makes his presence felt. Debutant Anna Ben was dazzling from the word go and looked exceptionally confident and impressive for a newcomer. Other performers like Mathew, Jasmine Metevier and Grace Antony also makes their presence felt. Even the actors who play Bobby and Baby’s friends make a lasting impression. Dileesh Pothan , also one of the producers of the movie, chips in a cameo appearance.
Fahadh Fasil has repeatedly been challenging himself and he seem to not surprise himself and the audience with his choice of roles and how he aces them. This time, as a villain, he absolutely steals the frames whenever he appears with his eccentric mannerisms, and at times, even with merely his looks. One runs out of adjectives with each passing performance of his.
And last but not the least, Soubin Shahir. From a comedian, he made leaps as a lead man in last year’s runaway success story Sudani From Nigeria. But with this one, he has shown us what a amazing actor he is. He owned the role of Saji completely. Be it when he laughs in joy on Bobby calling him ‘chetta (Brother), or when in his drunk scene with Ramesh Thilak and eventual reaction to the bitter truth, or the scene where he breaks down in front of the doctor. Such a damn fine performance capturing all the complexities of the character.
This year is merely a month and a few days old, and we already have a gem of a film that would feature in the year end top lists (…that is if not the best). Rarely do we have movies approached with such simplicity, sincerity and comes out with such beautiful results. But films from Kerala are managing to hit that sweet spot with ease and finesse. The Napolean brothers will find a place a heart in all moviegoers. And so will Fahadh’s Shammi , one that will be etched in our memories for years to come.
So think no further, do check out this house in the wastelands of Kumbalangi. One where exists no boundaries of caste, color, religion or nation. It shows that even the most incomplete of homes can feel complete when it is drenched in love, acceptance and brotherhood. An absolute must-watch!
KUMBALANGA NIGHTS (Malayalam, 2019)
cast: Soubin Shahir, Shane Nigam, Sreenath Bhasi, Anna Ben, Mathew Thomas, Grace Antony and Fahadh Faasil
Directed by Madhu C Narayanan
Written by Shyam Pushkaran
Produced by Fahadh Fasil and Friends/ Working Class Hero
Prithviraj’s latest movie, ‘9’, does start off with an exciting premise. The earth is about to witness a rare cosmic event, one that involves a comet passing through the earth at such a close distance that it would leave the world without electricity, internet or any communication for the next nine days.
So, when his mentor Dr Inayat Ali (played by Prakash Raj) offers an opportunity to do some research on the comet from the Himalayas, astrophysicist Albert Lewis (Prithvi) grabs it immediately and lands up at the high peaks with a handpicked team of four members.
Also, with him is his seven-year-old son, Adam. Albert, being a single parent, has been having trouble in keeping the young lad on the right track. So, he decides to take the boy along during this research expedition.
On the first day of the comet’s presence, Albert ends up running into a mysterious woman in the woods. He brings the unconscious woman back to his resort. The following day, the woman (Wamiqa Gabbi) introduces herself as Eva and informs that she got lost in the forests while on a similar trip with her friends to check out the comet. She does hit it off well with both Albert as well as his son, Adam.
But something about the new visitor seems strange and the following nine days is about how the equations between the father, son and their new ‘guest’ change throughout these days.
It cannot be argued that Prithviraj is trying to give the Malayalam film industry, usually known for superb content but with limited budget constraints, a leap to the big league. With much more technical and production quality, it is a sincere attempt to tap into a bigger market beyond the boundaries of the state. And this co-venture with a big player like Sony Pictures is an excellent example of the same.
However, the problem comes when the storytelling attempt looks more inspired as opposed to saying something original and homegrown. And it has become a common streak in the actor’s recent choices. As he tackles ghosts, serial-killers, cults, supernatural beings etc., the flashes of originality or even attempt to finely adapt to the local milieu goes missing. One wishes the focus is kept more on telling our stories well to the world rather than compromising into telling their stories to stand out.
Director Jenuse Mohammed, despite the different yet promising sci-fi touches, steers the whole thing down the alleys of familiarity. After all the talks about humans headed back to bonding with nature, the movie never really stops to address those aspects. Instead, the genre slowly shifts, and elements of science get traded in favour of supernatural elements. And the grip over the audience begins to loosen.
It is fair enough to tackle different genres. But if it is horror, there needs to have a proper atmospheric building. And that is never going to happen with the incessant background score (Sekhar Menon) like this one has. The beauty of silence in such sequences is matchless to amplify the fear and creep factor. But that is not opted for here, and it fails to engage the audience.
Another point is it science-fiction, horror, fantasy -whatever the genre, there is a certain logic within the movie that must be followed and respected. For example, if a character can fly through windows, you do not expect them to struggle with a closed door in the next scene. Or for here, you have a character swooping in on another on a cycle but has issues in chasing down a young lad on foot.
The results are mixed. Because technically the movie has everything going for it. Be it the stunning visuals from Abhinandan Ramanujam or the exemplary sound design. Even the VFX work is quite good (barring the wolf, of course). But Jenuse’s writing proves to be a downer. For a film that is said to revolve around the father-son bonding, there is hardly any importance or time given to develop this aspect. They do try to reason it out with an exposition towards the climax, but it never really convinces you. From a narration point, it should have been told from either the father’s point of view or the son’s. But the film tries to do both and eventually as a viewer, we are not invested in either predicament.
But the choices the makers make only add to the problems. The director then tries to make it even more profound by throwing more genre-busting moves towards the climax. It helps in covering up some of the flaws but also reveals new ones. Especially a scene where the character goes shopping raises a question on the validity of the whole theory.
Performance wise Prithvi seems to be resorting to his trademark mannerisms and reactions, merely playing to the script but never to his strengths. The actor we saw in Koode is nowhere in sight. Mamta Mohandas and Prakash Raj have nothing much to do in their cameos. Master Alok does well with his role, while Wamiqa Gabbi manages to shine but both suffer from sluggish writing and equally flat dialogues.
The solace is that 9 (nine) keeps to its promise of being a one of a kind theatrical experience for Malayalam films with its technical prowess. Yet it frustratingly falters on two of the biggest strengths of the industry – content and acting. And as far as the talks about it being a unique sci-fi offering, the closest it gets is with the black hole, it manages to create in its script!
Cast: Prithviraj Sukumaran, Master Alok, Wamiqa Gabbi, Prakash Raj and Mamta Mohandas
Written and Directed by Jenuse Mohamed
Music by Shaan Rehman
Produced by Prithviraj Productions in association with Sony Pictures India