It’s true what they say about how Mani Ratnam narrates a tale of love. The man has a way of going above and beyond the standard cinematic portrayals of romantic bonds, and ends up presenting it in a manner that any average cinegoer would identify with it. Post a minor lean spell, he bounced back with the absolutely refreshing OK Kanmani, a tale of two young souls in a metropolis attempting to push the boundaries of conventional relationships. However, with Kaatru Veliyidai, a movie whose title is borrowed from a Bharathiar poem, it seems like he is attempting to explore a relationship between two souls, defined only by its intensity. Will this be yet another classic from Madras Talkies?Continue reading “Kaatru Veliyidai Movie Review: Enna Kodumai Idhu, O Kannamma!”
There was a time when one watched Malayalam films partly with a view of getting that reassuring feeling of how life continues to be a lot less chaotic back home in Kerala. Of course this is generally with reference to a non-resident Keralite like me. Times have of course changed, Kerala isn’t really all that tranquil overall as it used to be. There are signs of development and change all over and not really restricted to a Kochi, Thiruvananthapuram or Kozhikode, but even in the interiors as well. Of course once in a while we do get to see films like Maheshinte Prathikaaram which still enable one to soak in the ambience and the feel of the days gone by. While I am all for development and personally enjoy a lot of the so called new generation films, I do admit that I also do yearn from time to time for tales that are simple and rooted and giving me a glimpse of the state that usually serves as a place where I get to recharge myself once in a while.Continue reading “Pinneyum Movie Review: Not Quite the Classic Expected From the Return of the Legend”
Pinneyum ( Once Again) is a forthcoming Malayalam film that sees veteran writer-director Adoor Gopalakrishnan back after a long gap of 8 years. He has written, directed and co-produced Pinneyum (with Baby Mathew Somatheeram being the other producer). The film features an interesting star cast, with popular pair Dileep and Kavya Madhavan in the lead and the supporting cast sees Marathi actor Subodh Bhave making his Malayalam debut. The rest of the star cast includes Nedumudi Venu, Indrans, Vijayaraghavan, Srinda Ashab, KPAC Lalitha etc. The music is by Bijibal while M.J.Radhakrishnan is the DOP and B.Ajith Kumar is the editor.Continue reading “Adoor Gopalakrishnan’s “Pinneyum”: Trailer”
I’ve always wondered how it would be to roam around carefree impulsively and to listen to the call of my heart. Added with the prospect of living life on one’s own terms, it’s made me wonder how if not for the typical societal norms and the compulsions of having some semblance of stability in life, a lot many more people would be thinking like me. Normally one tends to look down upon the select few lucky people who manage to do this, even going to the extent of calling them escapists. But what if they could afford to do so, or couldn’t care less about how the World perceived them? Oh! How I would cringe every time a certain elder would try to caution me saying, look you can’t be living bindaas anymore, you need to get more responsible. And how happy do I feel now that the tides have changed and that I don’t have to listen to that comment from that person anymore. Having seen Martin Prakkat’s Charlie I can’t but help think along these lines.Continue reading “Charlie Movie Review: A Zestful Journey of Two Soulmates”
After their successful outing in the form of Punyalan Agarbathis, writer-director Ranjith Sankar and actor Jayasurya join hands once again with the Malayalam film,Su Su Sudhi Vathmeekam. Based on a true story,the film is produced by Ranjith Sankar and Jayasurya and features Jayasurya in the lead along with Mukesh, Aju Varghese, Shivatha, Sunil Sukhada, T.G.Ravi,KPAC Lalitha etc.Music is by Bijibal while Vinod Illampally is the DOP and V.Saajan is the editor.Continue reading “Su Su Sudhi Vathmeekam: Trailer”
When I landed in Kerala recently for a short vacation I was a little disappointed that there was not a single film playing in theatres which I hadn’t watched before. That was when I realized that extending my vacation by a few more days made sense as May 1st would see the release of Kamal Haasan’s Uttama Villain along with 3 Malayalam films, Chandrettan Evideya, Chirakodinja Kinavukal and She Taxi. All the 3 Malayalam films looked promising for various reasons. Sidharth Bharathan who had earlier remade one of his own father’s films Nidra (both the original and the remake carry the same title) was now attempting a family entertainer with Chandrettan Evideya featuring Dileep in the lead. Now Dileep hasn’t really been working on good films of late and the trailer and the songs from Chandrettan Evideya indicated that his search for a good film could end over here. Continue reading “Chandrettan Evideya and Chirakodinja Kinavukal: Films with a good intent but with mixed results”
We all love to watch a film which scores very well with its comedy where the lead actors themselves are funny, especially when they are naturally good at it right? So wouldn’t we watch yet another movie featuring the same lead actors, playing the same characters, literally taking off from where they left in the earlier film? And what if this film works as well and spawns a 3rd film (now leading to a franchise by itself) which goes on to work as well with the audience and critics? Now there have been film franchises worldwide and India has been no exception to the same. But generally when a sequel itself finds it difficult to repeat the glory of the 1st film is it not wonderful to see 3 films emerging successfully as part of a trilogy of sorts and still remembered with affection, nearly 25 years after the release of the 3rd film? Yes I am referring to the 3 films which are now fondly referred to as part of the Dasan and Vijayan trilogy, Nadodikattu (1987), Pattanapravesham (1988) and Akkare Akkare Akkare (1990).Continue reading “The Dasan and Vijayan Trilogy: A Swashbuckling Trilogy in the True Sense”
Since the success of Rajesh Pillai’s Traffic, there have been a host of movies that have tried to replicate the success of multiple narratives but very few have been able to strike a proper balance, an exception like Ee Adutha Kaalathu notwithstanding. So, it is with discernible apprehension that I approached debutante director Sunil Ibrahim’s Chapters only to be surprised by a taut well-structured movie that holds your attention.Continue reading “Chapters: A Film Which Pleasantly Surprises”
What does an ordinary man or woman do when faced with the wrath of the Income Tax Department that comes out to hound you? As somebody who was puzzlingly served an IT notice a year back, I can relate to the scare that Income Tax can create in one’s life.
Molly Mammen (Revathy) is an unlikely protagonist – a slightly elderly woman whose family is in US, who comes back after a long leave to continue working in her small little job in a public sector bank in Nemmara in Palakkad. She is a committed hardworking employee who can brook no nonsense and is willing to fight her way out of any situation, if she believes she is right about it. She sells her husband’s ancestral property, takes a voluntary retirement from her job and is about to return to her family in the US when she runs into the iron hands of the Income Tax department and the battle begins to prove her innocence!
You first see Molly as she comes late for a religious family function and bangs her car onto the priest’s scooter, knocking it down (a symbolic rejection of conventions?). Family gossip marks her out as being unwelcome to the family and her sleeveless dress does not help matters. As the daughter of a Communist leader, rebellion is in her genes and she isn’t someone who can be knocked around that easily. She is liberal-minded but adamant, egoistic and you’d have to admit that diplomacy is not her forte.
Molly isn’t a firebrand woman out to change the world making fiery speeches or a staunch feminist but somebody who is willing to make the best of her situation and stand up for what she thinks is right. As her husband Benny (Lalu Alex) says, there is a Molly in all our families, in some form of the other who makes everyone around her insecure. There is no point in being upset about it and one has to adjust to the way she is.
As she struggles with many of her small-time problems in life, it acts as a mirror to many of the issues that we face in day-to-day life. How many of us have not struggled in government offices waiting for hours, without any help at all. Even the slightest of help comes with a suggestion of short-cuts that we are forced to accept because there is no way out of the mess. Reminds me of my trip to the IT dept office last year where we spent more than a couple of hours just waiting for the man who sent us the notices to turn up but no one ever bothered to ask what we wanted when we landed in a placid Govt office.
Molly’s struggles are not always driven out of her conviction but also due to the simple necessity of doing things independently when alone. She is married to a large family headed by her matriarch mother-in-law KPAC Lalitha but finds no support when in trouble, except from her mother-in-law and a benign neighbour. It doesn’t help that she has brought no dowry after her marriage and is an independent lady who has come down all the way from the US of A to a place where her outgoing nature is a source of genuine bewilderment. Like Molly, haven’t many of us Non-Residential Keralites seen our relatives think that we have minted money outside and that we are stingy for not spending money – the effort and toil just does not show!
As a single woman who tries to live independently in a small town in Kerala, she struggles with house owners, head-load workers, nosey people, co-employees who are happy to keep away from work at the slightest of pretexts and of course, the ever roving eye of men who are keen to ‘help’ her whenever there is an opportunity. It isn’t a world that Molly is unaware of having brought up there; she, however, does not go about bad mouthing the place and unlike many others, she is not willing to simple live with her problems.
The women around her are more or less satisfied with the kind of lives that they live, living in a frog-in-the-wall kind of existence and being happy about it. Her neighbour Usha (Lakshmi Priya) lives a contended life of a teacher and is more obsessed with the progress of her TV serials than the world around her; she leaves it to her husband, Ravi (Krishna Kumar) the dentist, to handle things outside her house. Molly’s mother-in-law may be her only support in the family when in Kerala but there is a generation gap that cannot be bridged. Yes, they get along well and enjoy a rare sense of camaraderie but it happens with a sense of acceptance that exists between their worlds – a world where cooking and taking care of the house is a woman’s job and a world where women can stand up on their own and take the battle to men.
There is a subtle social commentary on the world around her in the form of bandhs, busy government offices and names that tell us a lot of the times we live in. New Generation lower caste names like Fleming Raj (with mother as Mulla Devi) indicating a western influence to a starry-eyed auto rickshaw driver with cine ambitions going by the name Gunesh Kuttan and an auditor called Paraman who is busier with making arrangements for the local festival than providing tax advice.
It is a mark of the changing times where the young priest Father Joby Matthews (Sharath) is a divorcee and is called in to settle a tax dispute between his parishioners! When Molly suffers a small fall on the road, the onlookers are more keen to capture the scene with their mobiles than actually give her a helping hand. The bank manager is impressed by her abilities at work and is more than willing to be persuaded that the American system is wonderful; in an absolutely hilarious moment when she is down with an accident, he even wishes her ‘Happy Rest in Peace’!
It is courageous of Ranjith to cast a young Prithviraj with a much-older Revathy as the central protagonists of this drama. Yes, it is evident that the plot demands such a casting but how many directors would be willing to take such a (perceived) risk? Also, kudos to Prithviraj for taking up this role which sees him play second fiddle to the central woman character. Mammukkoya excels in an unexpected cameo as Salim Mechery, Molly’s lawyer, who also dabbles in cartoons and plays (suspect that had Jagathy been around, he would have been a natural choice to play the character). It is Revathy’s movie throughout and I don’t think that for a minute that you’d think that she could be any different from the character that she plays – we need such strong female protagonists…
Prithvi as Pranav Roy is the haughty Assistant Tax Commissioner who goes strictly by the rule book and cares two hoots for the discomfort faced by the tax payer. He is honest and not driven by personal interests but knows that he has the power to make people bend and is willing to use his powers even if the situation does not demand it. It is a commentary of the sad state of affairs that bright officers are competent and intelligent but totally devoid of any sense of customer service. In a conversation with Salim Mechery, Pranav remarks that the money that should reach the poor is being siphoned away by NRIs like Molly only to be brought down to earth by Salim who reminds him that this money does not reach the poor but only the coffers of politicians.
But with all due regards to the director, I have misgivings over the way the movie peters out in a direction of morality that I find it difficult to digest. Call me a cynic but I have a problem with a moral angle being thrust in suddenly for no better reason than giving a sermon to us poor plebeians – something similar that I felt in the Ustad Hotel ending too. Yes, we know that Molly cannot be dishonest and to expect a twist in the plot may go against her character and even Ranjith’s convictions as a director. But I’m sure there are better ways of taking an honourable exit, without cleaving in the morality clause.
Adv Salim finds glaring gaps in Pranav’s father’s tax returns and this could in itself have been used as a bargaining tool simply to drive home the point that even the best of men can be taken to task if somebody tries to really screw their lives (somebody like Subramanian Swamy!). Molly’s defence of the expenses hidden from the Govt also do not cut any ice – when Pranav asks ludicrously as to why this could not have been shown in her tax statement, my mind was simply echoing his sentiments. What one presents in one’s tax returns is not in the public domain so her talk about shying away from publicity seemed far-fetched. And while she means well when she says that the taxes paid by her do not reflect into action by the Govt, it still does not explain her actions.
If you keep aside the contrived morality that seeps in during the end and a couple of scenes that appear out of place (like Salim’s entry into Molly’s house and the cringe-worthy spectacle of a tennis match), it is a warm movie that definitely gladdens your heart and reiterates Ranjith Sankar’s role as a director who thinks as the common man. His template of film making draws on the ability of ordinary citizens who rise to the situation when confounded with larger problems in life- what they do is not heroic but simple things that matter..
Note- Also check out this review of Molly Aunty Rocks.