Monday, October 18, 2010

Arabikatha

‘Cuba’ Mukundan (Sreenivasan) is a leading member of the communist party in a village in Kerala. His whole life revolves around the party so much so that he is not married. To me the movie was almost like a cheap imitation of a work of V.S. Naipaul. The writer has made a caricature out of the main character. Mukundan has learnt his communism from ‘Marx’s book with red cover’ and from his dad and some songs. He is a simpleton with no real understanding of the world. But he is an honest man; you don’t even for a minute doubt his intentions. He is opposing the pollution caused due to a factory whose owner is a rich industrialist from Dubai. One of the party leaders, Karunan try to make him compromise but to no result. In the end the leader along with the industrialist falsely implicate Mukundan’s father and blame him for stealing 20 Lacs from the bank in the name of party funds. Meanwhile Mukundan’s father passes away.
To clear his debt Mukundan decides to go to Dubai. At every instant he is cheated. Finally back at home his close friend realizes that Mukundan was implicated falsely and he travels o dubai to find him. But for two years no one has heard of Mukundan. Finally they are able o trace him and also catch the party leader who is now a minister taking bribe and record it on camera. Mukundan settles score and returns home to serve his party and his people.
The film has its moments where the director tries to bring in the irony. Sreenivasan is passable as a simpleton. Nedumudi Venu is wasted in the role of Mukundan’s father.  But the biggest flaw for me is that the movie was pointless.
Useless script, mediocre performances.
Do skip.

Sunday, October 17, 2010

Udayananu Tharam (Udaya is the Star)

Today I saw the movie which was later remade into Vellitherai in Tamil. Since it is an almost exact reproduction, for the story please see the review of Vellitherai - http://manymorewoods.blogspot.com/2010/05/vellitherai-silver-screen.html



Even though I knew the story of the movie I enjoyed watching it. Mohanlal plays Udayan and Sreenivasan plays Rajappan. Mohanlal gives a superbly restrained performance. Where Prithviraj (playing the same character in Vellitherai) comes across as an angry young man, Mohanlal is slightly more sophisticated and mature. Prakash Raj played a much more melodramatic form of Sreenivasan and I must say, I felt that Prakash Raj brought more color to the movie. After all the satire on cinema should be slightly exaggerated...

Again, Good direction, interesting script, superb performances.

(Do Watch)

Sunday, October 10, 2010

Classmates

Finally on a wild guess I played the DVD which said “No Subtitles” to discover that the movie actually has subtitles. And it was a movie I have wanted to watch for a long time, highly recommended by some.
The movie starts with the principal of a college announcing that to commemorate the death anniversary of a student, Murali (Narain) who had died 14 years ago, his batch mates were coming for a reunion of sorts. The dead boy’s parents also teach at the same school. It all begins with the old classmates coming back together. The first to arrive is Suku (Prithviraj) who is a diamond merchant in Mumbai and then the rest of the gang – Pious (Indrajith) who was Suku’s close friend, Tara Kurup (Kavya Madhavan) who is a famous dancer and the daughter of a MLA, Satheesan (Jayasurya) and Vasu (Vijeesh) amongst others.


From the first scene you can see that there is some tension between Suku, Satheesan and Tara. Suku is also upset because he is recently divorced. During the evening function Tara learns that Pious’s daughter has a severe throat infection and gets an appointment for them with a famous pediatrician for the same night. Pious suspects Tara’s motives for this. Another person to arrive is Raziya (Radhika) on the condition that no one will ask about her past.

After the function Suku is in his room drinking when Murali’s father, Professor Iyer (Balachandra Menon) comes to enquire about him. Late in the night after returning from doctor’s appointment, Pious goes to Suku’s room to check on him and finds him strangled. Police is called and Suku is admitted in the hospital where he is struggling for life and death. Police discovers Suku’s journal where he has written about ending his life. Police is not entirely convinced that it was an attempted suicide. Prof. Iyer is also not convinced since Suku seemed very happy when he talked to Suku just before this incident.

Prof. Iyer starts talking to Pious and they decide that the actual reason for this murder would be in the past and not the present. In the flashback we see that Suku was a communist leader during his college days and would get into tiffs with Tara for the strikes in the college. Satheesan was the DSU leader who had won the college election last and wanted to be a politician. He coveted Tara primarily because her father was a MLA. Tara and Suku are always at loggerheads and continuously playing tricks at each other. In a strike in college the situation gets out of hand and police beats up the students and shuts down the college. Suku saves Tara and both of them get locked in a room. There they acknowledge that they love each other. Suku goes to submit his and Tara’s certificates for some camp and forgets Tara’s certificates at his home enroute.


It’s time for college elections and Satheesan pressurizes his party to have Tara represent DSU. Seeing that this has no effect on Tara’s and Suku’s relationship he tries to create misunderstanding. He gets hold of a letter written by Tara for Suku and puts it in the ballot box. Pious sees him doing this. He and Suku try to get hold of the ballot box but are unsuccessful. The same night Murali, who is an asthma patient gets trapped in the generator room and dies. Tara leaves college and so does Suku as they are unable to reconcile their differences.

Coming back to the present Prof. Iyer quizzes Tara and she admits that she met Suku behind the generator room before his attempted suicide. She had realized that Satheesan was behind all the misunderstanding and she and Suku decide to get back together again.

Esthappanachan (Jagathy Sreekumar) who can’t see properly admits that he had heard a third person in the generator room besides Tara and Suku and identifies her as Raziya. Prof. Iyer confronts Raziya and she admits that Murali and she were in love during college days but her father learnt about it and got her transferred. She informed Murali and they were supposed to meet behind the generator room. He never turned up while Raziya waited for him. She only later realized that he had died inside. Due to the shock, she lost her mental balance, her father died as a worried man and she now lived alone as none of the relatives would take her. When Tara and Suku were talking she was there. She heard Suku reveal the truth of Murali’s death. Suku thinking that Murali was Satheesan’s goon in the dark had thrown chloroform on him due to which he lost consciousness. It was only in the morning he realized it was Murali.

However Suku regains consciousness and accepts the incident as a suicide attempt. Prof. Iyer and Raziya forgive him and all ends well.

Though the movie was successful at the box office, I found the movie quite boring and performances quite stale. It doesn’t have the chutzpah of “Chocolate” or the camaraderie of friends as in “Thirakatha or Mozhi”. Prithviraj, Jayasurya and Radhika have delivered average performances and music is seriously flawed so much so that I forwarded the tracks.

On the positive side, the movie is very realistic and I liked the way it moved between present and past. Also the story moves forward as the three characters – Pious, Tara and Raziya narrate their version of the events and we see the story emerge in bits. The story itself is quite weak and is not engaging.

(Can Skip)

Monday, October 4, 2010

Thalappavu (The Headgear)

Every film maker has a specific reason to make a movie, just like a writer has a specific reason for telling a story.

This movie is a story in retrospect. An old man, a retired policeman, Ravindran Pillai (Lal) is finally confessing to a conspiracy in which he was forced to kill a naxalite leader, Joseph (Prithviraj) in police custody and file it as an encounter. This incident completely ruined his life as he takes to drinking unable to live with the guilt. His wife leaves him with his two kids and he lives at the mercy of his friendly neighbors.

The story alternates between past and present seamlessly much like “Thirakkatha”. The direction is crisp and creates impact. Lal has played the role of the repentant policeman perfectly and the expressions of Prithviraj stay with you even after the movie is over. There are two ways to look at the story - one is to stay that it is the story of a man repenting for killing someone and another way to look at it as a view of the bourgeois oppressing and suppressing the naxals. The director is not very clear on what view he wants to stress on and as a result its not as clear as "Thirakkatha" but much more ambiguous.


Now you need to ask, who were the intended audience for the movie? If it was the artsy types then the movie needed much more pathos and grotesqueness which brings forth the “undiluted in your face” incidents to make it critically acclaimed. If the intended viewer were the masses then the movie is way too serious and uninteresting. Compare to something like Thirakkatha which is also a serious movie albeit the theme of the movie is not so seriously socially relevant but in that case the movie is highly engaging with an element of mystery which keeps the viewer glued. Where as in Thalappavu you know the store from the first scene, there are minor surprises here and there (for me the moment when Ravindran’s daughter accepts that she was forced into prostitution at a very young age was hard hitting) but they fail to create an impact.

So while the direction, story and performances are all commendable, the movie failed for the want of a proper audience.

Watch it for the direction and performances.

(Can skip)

Moving On

Find me on medium.com from now on :)