Nandanam

It’s a simple story. Balamani (Navya Nair) is a hired help in the rich household of Unni Amma who lives with three other old women who supposedly take care of her in the temple town of Guruvayur. Balamani ends up doing all the work but she is very effervescent and good natured and Unni Amma treats her like her own daughter. Balamani believes in Lord Guruvayur strongly and lights a lamp everyday though for some reason she doesn’t get to go to the temple. One night she dreams of her wedding and sees an unknown man as her groom. Next day Manu (Prithviraj), Unni amma’s grandson comes to stay with her for two weeks before leaving for US. Balamani is surprised to see that Manu is the man who came in her dreams.

Balamani and Manu come closer and Manu wants to marry her. Meanwhile Manu’s mother Thangam (Revathi) fixes his marriage with some other girl whose family resides in US. By the time Manu is able to tell his mother the truth it is too late and he is unable to say no to her.

Meanwhile Balamani is heartbroken but she can’t even leave the house as she owes Unni amma some money. One day she is contemplating jumping into a well when a young man stops her. She thinks he is Unni, the son of her neighbor who is visiting her. The two become friends and Unni who is always cheerful gives hope to Balamani. He believes that she will finally end up marrying Manu in spite of all obstacles.

Unni’s words bear fruit. On the eve of the marriage, the bride elopes with someone else. Though the family tries very hard to get Manu married to his cousin, that too doesn’t succeed. Finally in spite of brooding family members Unni Amma gets the two married. Balamani goes to her neighbor’s house to give the good news to Unni but discovers that he is not the guy she met in the woods. Balamani and Manu go to the temple to get the God’s blessings but are unable to enter as it is cordoned off for some VIP’s visit. Outside the temple Balamani catches the glimpse of her friend unni and realizes that Lord Guruvayur himself came to help her.

A simple and old tale with devotional background coupled with a pace which reflects the old times, could have made the movie uninteresting. But it doesn’t - the reason being Navya Nair, she has played this innocent, sweet, full of life, simple girl who steals your heart from the first scene. Prithviraj also plays his role of a young city boy who has fallen in love with a village belle to perfection.

The movie is slow paced but stills keeps you interested and the story moves forward fairly quickly. Renjith has done a brilliant job in capturing the life as it exists in the small towns. Though the scenes with Kumbidi (Jagathy Sreekumar) intended to bring some humor are dead and unnecessary.

Superb acting especially by Navya Nair, Commendable direction.

(Do watch)

Lollipop

I had picked up this movie for the actors especially Prithviraj and Roma who had amazing chemistry Chocolate.

The movie begins with Panji (Jayasurya) telling his story to another man while waiting for the ferry. Panji was a small time pick pocket committing petty crimes. One day he tried to steal Franco’s (Prithviraj) bag and gets beaten by him. Unfortunately both of them are caught by the police and later released on the insistence of a local priest who is also Franco’s godfather. Panji follows the priest and Franco and is ultimately given work in Franco’s garage so that he can mend his ways. Franco lives with his sister Jenifer (Roma) who is a tomboy. Their parents are no more. He is over protective of his sister and picks up fights with anyone who upsets her. One such person is Rose (Bhavana) who studies with Jeni who for some reason hates Rose. Though at the face of it Franco scolds Rose for picking a fight with Jeni, actually they are in love. They cannot acknowledge their love openly as Franco and Jeni have a pact that each will marry the person of other’s choice so that they can always live peacefully under one roof.

Meanwhile Panji falls in love with Jeni who is oblivious to his affections. Jeni ends up meeting a doctor, Dr. Aby (Kunchacko Boban) and the two like each other instantly. When Franco sees Dr. Aby, he instantly rejects him for some reason. As a result Jeni also breaks her association with him. Dr. Aby and Rose are coincidentally neighbors who parents are constantly fighting with each other.

One day Franco ends up beating a SP who was rude to Jeni, unaware of his actual identity. Hearing this Rose comes to tell him of the consequences when Jeni sees them. Brother and sister are about to have an altercation when the SP comes and arrests them. The local priest again comes to their rescue. Jeni is extremely upset with Franco who realizes his mistake and breaks up Rose. A little later Jeni realizes her mistake and talks to Rose and tells her to call Franco. Meanwhile we see Franco at a mental hospital meeting his mother who is in a very bad shape. He meets Dr. Aby there and acknowledges that he was the one who told Jeni to break up with Aby. He admits that the lady is only Jeni’s mom and in reality Jeni is not related to Franco. Franco found her on the road one day when she was a child and took care of her like a sister as her mom was not in well. Jeni knows nothing about it and he thought if she got together with Aby she will learn the truth which might upset her. Aby acknowledges Franco and promises never to reveal the truth. Meanwhile Rose calls up Franco to tell him about Jeni’s acceptance of their relation. Thus Franco and Rose; and Jeni and Aby get together and their parents throw a big party on their engagement.

Meanwhile Panji is heartbroken and is determined to marry Jeni. He creates a misunderstanding between Franco, Jeni and Rose and Aby where Franco and Jeni suspect them of having an affair and break off the engagement. After a while Franco unaware of Panji’s true nature gets Jeni and Panji engaged. Police catches an associate of Panji who confesses to everything, just in time before the wedding. In a fight Panji is killed and everyone gets back together and lives happily ever after.

Movie starts on a comical note and seems to have potential. But after an hour of running time, gets absolutely entangled and looses the plot completely. I actually couldn’t sit through the movie and fast forwarded the songs and fight sequences.

Shafi is extremely disappointing and the movie is a complete waste of time. Prithviraj is disappointing, Roma is her usual bubbly self and the rest of the actors are wasted.

(Do skip)

Rithu (Seasons)

One of my very first movies which captures the angst and aimlessness of the modern youth…not the rebel, doped out, high on everything kind…not the pseudo intellectual spouting Nietzsche and Kafka at the drop of a hat but the garden variety yuppie working in the IT city, travelling on projects to US, caught between the old and new…

And the director has done a fantastic job with it. A movie with which I can surely say 99% of my colleagues will relate to. And yet it’s not a run of the mill movie. It explores the basic believes and fundamentals of our lives, of parents forcing their children to become software engineers, of an entire generation forgetting how to think, how to feel, of the futility of the rat race we all have become a part of.

The movie begins with Sarat coming back from US after a stint of three years to his hometown in Kerala. He calls his two childhood friends Sunny and Varsha, both working in Bangalore, to come and join him to work for a start up. Together they form the core team of the company. Sarat is the team leader and popular for his stay in Silicon Valley. Sarat who still considers Sunny and Varsha as his closest friend thinks that the camaraderie between them is same as before. But Sunny and Varsha have moved on with their lives of which Sarat is no longer a part of.

Sarat is also a son of a famous writer who used to translate Bengali novels. Sarat too wanted to pursue literature but under pressure from his father had to do engineering and move to USA. You still feel the lingering tension when he interacts with his father.

Overtime Sarat realizes that though he and Varsha were seeing each other before he left, she is now with someone else. Also Sunny harbors a lot of ill will against Sarat for not helping him with his visa. A colleague, tips of Sarat that Sunny is trying to steal the software code they are working on and sell it.

Meanwhile Sarat’s dad passes away and the circumstances especially his disillusion with the rat race and the futility of his life, force him to do a lot of introspection. He ultimately leaves his job to pursue a career in writing. How his friendship with Varsha and Sunny morphs like changing seasons is the highlight of the film.

Shyamaprasad’s direction and Joshua Newton’s screenplay have come together beautifully to make the movie extremely realistic yet entertaining. There are melancholic undertones to the movie but what amazed me most is the cast. The three newcomers Nishan, Rima and Asif Ali have played their characters to perfection. The director has kept true to each of the three characters till the end.

A movie that will resonate with many in urban India.

(Do watch)

Thanmathra (Molecule)

Finally a Blessy movie which makes some sense...

After having watched Bhramaran and Calcutta news, I had lost faith in his direction but Thanmathra proves that it’s not a lose cause yet. The movie begins with the life of a simple man Ramesan Nair (Mohanlal). He lives with his wife Lekha (Meera Vaasudevan), son Manu (Arjun Lal) and daughter. He works at the secretariat. His aim is to make sure that his son becomes an IAS officer. He is absolutely involved in bringing up his kids, teaching them and is himself has a very gifted memory and even lectures at his son’s school on memory techniques.

His is a small and perfect family.

The first anomaly we see is when at his hometown he forgets the nickname of a childhood friend. Not much later he forgets the lyrics of one of his favorite songs. This really frustrates him and he rushes out of a bath without drying himself when he remembers the lyrics. Slowly after that his life starts unraveling and he forgets an important file in the freezer. He even goes to the doctor who initially attributes his forgetfulness to the stress caused due to his son being in class XII.

But then he turns up at office one day with vegetables and behaves as if he is at home. Soon the situation gets out of hand and his good friend Joseph takes him to the hospital. His father (Nedumudi Venu) also comes from the village. The doctor informs the family that Ramesh is suffering from Alzheimer’s and the family needs to be prepared for it. Throughout this the son Manu behaves very maturely and handles the entire crisis.

Ramesh’s father decides to move the family back to the ancestral home so that they can take care of Ramesh. Thereon we see slowly the degeneration of Ramesh while his family watches.

The movie is well directed especially because it tackles an issue like Alzheimer’s very sensitively. While watching the movie, initially I felt that the director is rambling aimlessly but after he starts showing the effects of memory loss on Ramesh you realize the importance of the initial background the director gave. In my personal opinion the technique of moving between past and present that Blessy later used in Bhramaran could have made this film a little crisp. Nevertheless he successfully tells the story of Ramesh in a very poignant manner.

What disappointed me in this movie are the performances. The fundamental reason for that could be that the actors and the director might not have done their background research in actually studying a patient of Alzheimer’s. To understand the nuances of their behavior, to see how the disease reduces a person to a vegetable, you actually have to spend some time with a person suffering from it and with the family taking care of the patient. But our Indian actors are above all this. They can just wake up and play any character. As a result Mohanlal’s performance is melodramatic and all Meera Vasudevan does on the screen is cry. Arjun Lal, looks extremely unnatural as the dutiful son.

The film has its moments but falls short of expectations.

(Can Skip)

Kannathil Muthamittal (A Peck on the Cheek)

After watching Raavanan I had to see an actual Mani Ratnam movie to remind myself how great his movies are. And I decided to watch Kannathil Muthamittal.

It’s a story of a young girl, Amudha (P.S. Keerthana) who on her ninth birthday learns that she is an adopted daughter. She was adopted by a popular Tamil writer Thiruchelvan (R. Madhavan) and Indira (Simran). For a child that shatters her entire sense of security, her identity and her world view. She feels herself alienated from the family and tries to run away from home to try and find her birth mother. Finally her father promises that he will help her find her birth mother.

Amudha was born to Shyama (Nandita Das) and Dileepan. While pregnant, due to the strife torn state of Sri Lanka, Shyama came to Rameshwaram to give birth to Amudha. After the baby is born Shyama however chose to go back. Thiruchelvan writes a story fictionalizing the inner turmoil of Shyama who left her new born to go back to a devastated homeland. While writing the story he sees the baby and wants to adopt her. However the law does not permit a single man to adopt and he asks his neighbor, Indira who also likes him to marry him and adopt Amudha.

Meanwhile Amudha runs away to Rameshwaram where she learns that that her mother was from Sri Lanka. Keeping his promise, her parents take her to Sri Lanka where Dr. Herold Vikramsinghe (Prakash Raj) helps them. Throughout this while Amudha refuses to listen to Indira, dreaming about her real mother. Mani Ratnam has beautifully depicted the chaos and pathos of the war torn Sri Lanka. The rest of the story moves with Amudha and her parent trying to get to the Tamil heartland to find Shyama.

A beautiful and poignant story exploring various facets of human relationships against the backdrop of war and strife… All aspects of the film are very sensitively handled. A child’s dilemma and resulting stubbornness, a mother’s helplessness and love, a father willing to go to any length for his child, a writer trying to make sense out of the world around him…the movie takes you on a journey and you identify in one way or the other with each character. The best thing about the movie is the way Mani Ratnam builds up the character so much so that the act of Thiru taking his wife and daughter to a place where war can erupt any minute seems natural. You know that this is his philosophy of life; to do what he believes is right. The honesty with which all characters are portrayed is what makes this movie a treat.

As far as performances go, every one of them is outstanding. Amudha tugs at your heart every time she comes on screen. You cry with Indira and her love for her child is palpable. Madhavan has outdone himself in his portrayal of the father and the writer. I loved the songs and the music especially the title track. Ravi Chandran’s cinematography is breathtaking and the editing of the movie is very crisp yet the movie flows.

(Must Watch)

Calcutta News

Ajith (Dileep) is a news reporter for one of the news channel in Calcutta. He lives with his mother and two sisters. One day the channel gets the news of a dead body found near the river. On seeing the dead man, Ajith realizes that he had seen the same man sometime earlier with a young girl, perhaps his wife, and they are also malayalee. Ajith who had recorded a small video of the couple on his mobile feels personally involved and sets out to search for the girl. They soon learn that a malayalee girl was found locked in a room with some head injuries. Ajith realizes it’s the same girl and meets her. The girl Krishna Priya (Meera Jasmine) finds some solace on seeing Ajith since she only speaks Malayalam.


Ajith takes her to identify her husband’s body where she breaks down and admits that she is an orphan from Kerala and just married Hari a few days earlier and came to Calcutta. Ajith and crew realize from her story that the husband was a crook involved in sex racket and was planning to sell Krishna Priya to a one arm guy who is involved in trafficking.

Initially shattered and suicidal, Krishna Priya gets better when she stays with some colleagues of Ajith. She is a beautiful singer and Ajith tries to get her some opportunities to showcase her talent. Ajith also takes her to a psychiatrist who helps in her treatment. The two eventually fall in love.

Meanwhile the ‘one arm’ villain kidnaps Krishna Priya and Ajith and his colleagues go to the red light district and bring to light the squalor and abject poverty in which the women live. All ends well as CM sends a rescue mission on seeing the story on TV.

The best bit about the movie is undoubtedly Meera Jasmine. She has played the character of innocent, lively Krishna Priya with utmost finesse. Dileep is passable though I found his expressions quite foolish and boring.

The movie starts on a very promising note, with enough mystery to keep you glued. But later he loses his grip and the hitherto realistic story becomes a cheap melodrama. The issue is that (and I saw Blessy doing the same in Bhramaram) when you take a real story, at all points you have to keep it grounded and logical. If you have to make a fantasy then see “Mr. India” and create a villains like “Mogambo”. Don’t mix the two genres. It’s as if somewhere while directing, Blessy realized that his movie was too offbeat and decided to make it more commercial.

Interesting story which goes awry. You can watch it for Meera Jasmine though.

(Can Watch)

Gramaphone

I recently saw this Malayalam movie starring Dileep, Meera Jasmine and Navya Nair. Sachi (Dileep) is the son of a great singer who is no more. Burdened by a legacy he never cared to inherit Sachi juggles between multiple jobs to make ends meet for his family. In addition he also takes care of his father’s friends who were a part of his orchestra. They are all friends with Jenny, a local Jew and one of the few families still living in Cochin. Jenny’s father wants her to marry a boy who will take all of them back to Israel. Jenny and Sachi like each other but are too stuck in their worlds to be able do something about it.

Pooja (Navya Nair) is the daughter of a singer whose importance in the movie I never really understood. Pooja becomes good friends with Jenny when she starts working at the same hotel Jenny works. Meanwhile there’s Jenny's Aunt Sarah (Revathy) who refuses to leave the room she has shut herself in. Though never explicitly mentioned we get to learn that Sarah was in love with Sachi’s father, the singer, but for her dad’s insistence on marrying a Jew, who could take them to Israel, could never get together with Sachi’s dad.

Another angle in the story is that though Sachi is a brilliant singer and musician, he refuses to acknowledge it because he believes that all musicians are corrupt and base.

So as you can already see there are too many angles in the movie. I don't quite understand the story that the director wants to tell. The thing in having too many characters is that you have to bring all of their stories, however unique or mundane, to a logical conclusion. And add to it they should all connect somehow. This is where the script writer and director fail miserably. The movie is all over the place.

I don’t think that whatever the actors did could have salvaged the movie.

(Can Skip)

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)

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)

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)

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)