Tuesday, July 13, 2010

Kerala Cafe

There are two parts to the story of Kerala Café. One the individual stories and secondly the thread or the background that ties the stories together so that in spite of being ten different stories they look like a montage.

Let me first talk about the stories individually. (To give a perspective on stories relative to each other, I have tried scoring them on a scale of 5)


First story “Nostalgia” starring Dileep. The concept reminded me of a book “Ignorance” by Milan Kundera where he explores the whole idea of nostalgia. He says – “The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return…nostalgia seems something like the pain of ignorance, of not knowing.” The problem is that when you return to a place after a long time your memories no longer match. It’s just your attempt to recapture your experience of the past. The movie tried to explore the same concept through a Keralite living in Dubai. While in Dubai he fondly remembers his village, the cool breeze and the green fields and sings the songs he heard as a child. But when he returns the same things irritate him and he misses his structured and comfortable life in Dubai. Interesting rendition with excellent acting by Dileep. I only wish the director had only explored this feeling and not confused it with the usual story of a petty rich guy exploiting a poor friend. (4/5)

The second story starring Prithviraj is called “Island Express” and is in itself a montage on lives of people who died in a train accident. From narration and story perspective I found it very weak. The director tried exploring too many facets in a very limited time frame and thus was not able to do any justice to any of it. The story follows a writer (Prithviraj) who survived the train wreck as a boy and goes on to write a book about the survivors and those who died. The interesting bit was how the driver who survived, lived on with his guilt and acceptance. (2/5)

“Lalitham Hiranmayam” stars Suresh Gopi has a conventional story but what makes it interesting is the ending. A man can’t decide between mistress and wife, loves both and wants to do justice to both. (Why I scoff at the story is a different discussion all together). Well directed. (3/5)

Next is the story of a haunted house “Mrityunjayam”. There is no reason why this story should have been included. A team of reporters who investigate the paranormal want to spend a night in the haunted house in a small village. One of them stays there and what happens to him is the story. Bad acting, bad direction and very uninteresting story. Horror is yet to come of age in India. (0/5)

“Happy Journey” directed by Anjali Menon is one of the jewels in the collection. A middle aged man sits next to a young girl in a bus. He tries to strike conversation and gets uncomfortably close to the girl. Initially the girl is very cornered and seems helpless. But at one point the conversation takes a turn and the girl confesses that she has kept bomb in the bus and can activate it with the press of a key on her cell phone. The rest of the journey the man experiences abject fear. The story has both serious and humorous undertones. The performances by both the girl and the man are excellent. An ideal short film with an interesting story with a twist and crisp direction. Reminds me of Roald Dahl’s short stories. (5/5)

“Aviraman” starring Shwetha Menon and Siddique is the story of an IT entrepreneur who is seeing some bad times during the recession. A subject which will resonate with a lot of people these days. This short film is warm and the subject has been treated very well without melodrama. Simple story but makes for a wonderful watch due to wonderful chemistry between the couple and thought out direction. (3/5)

Next story is a very humorous take on recession and the global nature of recession at that. Suraj does odd jobs at beaches of Goa and acts as guide for tourists. Due to off season there are not many travelers. By sheer luck he ends up meeting a Portuguese couple. Hoping to make some money from them, he takes them to a lodge for stay where the story takes a brilliant twist. It actually had me in splits. (4/5)


"Bridge" is easily the best story of the series. T. R. Unni (writer) has managed to stitch two separate lives in a wonderful mosaic so that you can’t take your eyes of it. The story follows two separate lives, one of a cat adopted by a little boy and later thrown out by his father and that of an old woman who has become a burden on her family. Anwar Rasheed has done full justice to the concept through his superb direction. Nice background score, this one had me riveted. (5/5)

Revathy directs “Makal”, a typical story of exploitation of mine workers where the parents give up a girl for adoption but she ends up in prostitution. You just expect the ending from the first scene. The children are endearing though. Stale is the word that describes the movie. (1/5)

“Puramkazchakal” is directed by Lal Jose and stars Mammotty. The story narrated by Sreenivasan is of a man who gets into a state bus and is constantly asking the driver to hurry constantly annoying the passengers on board. All of them curse and abuse him till he finally gets down at his stop. The ending tears your heart and will bring tears to your eyes. The movie makes you realize that you can never know the reasons behind a person’s actions. No matter what you guess, it’s not enough. A beautiful story, well directed with brilliant performance by Mammotty. (5/5)

Now coming to the direction of Renjith of “Kerala Café”, which he explains in a prologue to the movie. I can understand Renjith wanting to make sure that people sit through the movie and understand the motivation, but seriously it was a wee bit annoying. Also I think it is Renjith who fails in this movie. The individual stories had a lot of potential but they needed to be painted together on a canvas. The concept of a café is good where all these people spend some part of their lives but it’s not enough. It needed a little more depth and interaction. He just scrapes though it. (2/5)

Overall a movie worth watching with some brilliant moments.

(Do watch)

Thursday, July 8, 2010

Raavanan

As I keep on watching movies, I try to understand what makes these movies a success or a failure and I am not talking about commercial success. What makes a movie riveting and thought provoking?


Not all the movies I have liked have been directed well, or have had great cinematography or great music for that matter. What they have had is - thought out characters, well researched and connected storyline (the story may not be unique; it is the treatment that matters). I think somewhere in the successful movies the director was clear in his thoughts about the subject, characters and story. He was clear why he was making the movie. And he stayed true to the story and the characters. Be it Manichitratalzhu, Mozhi or Chocolate – movies from different genres and appealing to different generations. The potential of actors and their ability to understand the characters and act of course is primary requirement.

Unfortunately, looks like Mani Ratnam (who has directed good movies earlier) had no idea why he was making this movie. It was definitely not for the story for Ramayana is the most popular story in India; it was definitely not his interpretation either for only last five minutes make any impact on the audience; it was not for the music for A.R. Rahman has produced way better music then the score of Raavanan; it was not to show off the acting prowess of the actors for Aishwarya Rai in the end has all but two expressions on her face. Why then did he make the movie?
The story is simple, Veera (Vikram) believes that Dev (Prithviraj), a SP is responsible for the custodial rape and death of his sister Vennila (Priyamani). Veera decides to take revenge and kidnaps Dev’s beautiful wife Ragini (Aishwarya). Unexpectedly Ragini is a fierce woman and not afraid of Veera. This results in Veera being attracted towards her. This attraction should have brought out the shades in his character and should have been more subtle but throughout the movie you feel that the attraction is the reason for abducting Ragini and not really the revenge. Ragini on the other hand hates Veera but slowly learns of his reasons and sees different shades of his character (not apparent to the audience) and starts admiring him. The movie is a cat and mouse chase of Dev trying to find Veera, eliciting the help of the forest officer Gnanaprakasam (Karthik) who plays the proverbial Hanuman. Again the director missed an opportunity to bring the character of a messenger who believes the good in both the sides but instead reduces it to the mokeyish histrionics. The movie barely touches the shades of grey which should have been explored and dissected to give the movie the much required depth.
Mani Ratnam, who is a genius in exploring relationships, somehow missed some key relationships in the movie. For once he had such a powerful subject. The persona of Raavana itself is so multi faceted and full of contradictions. He could have explored that in greater detail. The character of Ragini symbolizing Sita again had a lot of potential. On one hand she has an honest, morally upright, larger than life husband who loves her and on the other hand this earthy abstraction of a seemingly demonic man who has a curious sense of justice. The confusion and temptation alone would have been mesmerizing.


No doubt, Santosh Sivan has done wonders with his camerawork and Vikram and Prithviraj stand out as Veera and Dev. There are a couple of dialogues and scenes - like when the villagers are describing Veera to Dev and each comes up with his own different version of the man, or when Ragini jumps off a cliff claiming that her life is her own; but these are too few and far too in between.

A subject that had a lot of potential and a cast that could have delivered – that’s what sums up Raavanan for me.

(Can Skip)

Monday, July 5, 2010

Nadiya Kollapetta Rathre (The Night Nadiya Was Murdered)

Three crimes are committed at the same time on Souparnika Express running between Chennai and Mangalore. A girl Thulasi Mani (Suja Karthika), famous classical dancer has committed suicide, Shreya, a NDTV news reporter is killed\committed suicide by jumping from the train and Nadiya, a sharp shooter is murdered. The case is never solved and Nadiya (Kavya Madhavan) who is actually alive but comatose is vegetating in a hospital.

The case, after two years is handed over to Sharaufdeen Tharamasi (Suresh Gopi), IPS officer and encounter specialist of RACT (Railway Anti Corruption Task Force). He very soon establishes that all three girls were murdered. On investigating Sharaufdeen learns that everyone on the train was in some way or the other related to one of the three girls (That’s where I am reminded of Agatha Christie’s “Murder on the Orient Express”, but alas the similarity ends there). Through the course of the investigation some highly influential people are suspected including some doctors, SP, prominent actress, a famous musician etc. The movie follows Sharaufdeen as he goes about solving the three crimes.

Interesting story and for each of the crimes the writer starts with a blank canvas and fills it with clues and missing links in a phase manner which sustains the viewer’s interest. Having said that, the movie suffers some serious lacunae. Firstly too much importance has been given to the characters who have actually got nothing to do with the movie (for e.g. SP Alexander (Subair) – I just did not understand why it was essential to waste screen time his animosity with other inspector). Secondly, there are just too many characters many of whom are not needed (the Tamil poet for one, Rajamma’s (Bindu Panikkar) and the actress for another). It actually creates unnecessary confusion and reduces the time onscreen which the director could have used to define and explain his main characters.

Thirdly the movie is actually three separate stories and the only common link is that the three murders happen at the same time on the same train and that the same officer is investigating them. To take the story from commonplace to phenomenal, there should have been some common link in the three murders. And finally the screenplay and dialogues are absolutely nonsensical at places.

Mediocre performances, bad screenplay and pathetic direction (what was with the obtuse angle during fight sequences).

(Do skip)

Friday, July 2, 2010

Pakal

Heart wrenching tale of how circumstances drive helpless farmers and their families to end their lives. Nandakumar (Prithviraj) is a reporter for a Kerala news channel assisted by cameraman Abu (Sudheesh). He covers a recent suicide by a farmer in Kerala. His editor decides to do a feature for which Nanda and Abu go to that village for a couple of months. There they meet a veteran Kunjappan (Thilakan) who has been fighting for justice against bank debt and money lenders for past 14 years. They also learn about Joseph (T.G.Ravi) and his family. Joseph is a poor farmer who has lost all his land to money lenders and bank and now all he is left is with a small piece of land and his house. His wife is no more and he lives with his four daughters. The eldest daughter, Merlin works in the city. Celine (Jyothirmayi), the second daughter is studying to be a doctor. The bank sends him a notice to seize his house. Meanwhile there is an evil moneylender who eyes the daughter in lieu of the loaned amount.

Learning of the bank notice and unable to arrange for the money, Merlin is forced towards prostitution but in a tragic twist she meets with an accident and is killed. Joseph unable to bear the grief also dies. Nanda meanwhile is trying his best to find a solution and also meets the collector of the region.

Celine after being advised by the father of the local church meets the bishop for help but to no avail. Finally she realizes that the solution lies not in begging for help but standing up and making things work. The villagers get together and get rid of the evil money lender and start small scale enterprise.

The movie is almost a documentary but that’s not the reason it sank without trace. It could have found critical acclaim but is too superficial and obvious while exploring the pathos in the lives of people. Its definitely not commercial.

Prithviraj, Jyothirmayi and T.G.Ravi have acted well for their parts and but I think the screenplay needed more research and a harder look at this social problem.

(Can Skip)

Moving On

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