If you have the patience to sit through Ranjan Pramod's directorial debut Photographer, you would finally ask yourself: ''Well! What was this film about?'' That's what you feel after seeing Photographer, perhaps the worst Mohanlal-starrer till date. It leaves you befuddled, thoroughly confused and totally exhausted.
Photographer takes us into the life of Dijo John, a professional wild-life photographer. He has married Satya, a Brahmin girl, against stiff opposition from both their families and is now living with his wife and their son Sharan. He ekes a living out of photography, for which he has some kind of a passion (the intensity of which, unfortunately, neither the director nor the actor succeeds in making us feel). Once, while on a photographic mission to the forests of Wyanad (because this photographer, who lives in a big, well-furnished house and carries a laptop with him, needs money to buy a saree for his wife who has to attend a wedding shortly!?), he happens to save an adivasi boy, Thammi, from the hands of the Police, who had resorted to uncontrolled brutal force to curb an adivasi agitation for land (a reference to the Muthanga issue).
He saves Thammi from the hands of a cruel Police Officer (Manoj.K.Jayan) and even takes a photograph of the Officer getting ready to shoot the unarmed harmless boy. He rushes with the child to the State Forest Minister, who is a friend and classmate of his and shows him the photograph too. The minister advises him against making it an issue and assures him the boy will be protected. Thammi is lodged in a juvenile home and Dijo returns home to his family. He visits Thammi in the juvenile home frequently. But one day Thammi is found missing and Dijo goes back to Wyanad in search of the boy. He is in an agitated mood since he finds that even his friend, the minister has been playing foul with him. But Dijo too goes missing. Then his twin brother Joy, who is a writer of pulp fiction and also the owner of a publication, tries to trace him down, but to no avail. What follows forms the climax of Photographer. .
What irritates you is the pace at which the film moves, and that too without somewhere to arrive at. I wonder why Ranjan Pramod, who till date had scripted good films like Randaam Bhaavam, Meesha Madhavan, Manassinakkare, Achuvinte Amma and Naran, embarked on this venture in the first place. It is mostly the fans of an actor who make it to the first shows of a new release. To find such an audience booing or yawning or even snoring a few minutes from the start of the film speaks for the shoddiness of it all.
The main problem with the film is that Ranjan, who himself scripted the film, faltered in the script department itself. Even the dialogues are unbearable at times. As for direction, the less said, the better. The acting department too falls flat. The director obviously didn't pay much attention to that, perhaps taking it for granted that the presence of the superstar would ensure good acting. The fact is, even Mohanlal's double role cannot salvage the film. The only saving grace is Azhagappan's cinematography, which alone however, cannot attract people to the theatres. In short, Photographer is a film that will not appeal to any section of the Malayalam film viewing public and would better have not been made. It's no doubt one of the most insufferable movies made in Malayalam in recent times.
Friday, May 18, 2007
Bada Dosth
The Viji Thambi-directed Suresh Gopi-starrer Beda Dosth opens with some amount of applause but ends with quite a bit of booing.
It is a typical Suresh Gopi film that is OK till the interval, but post-interval it bores you to some extent, perhaps on account of moving on predictable lines and ending in a manner as you have seen umpteen number of times in Suresh Gopi films.
The film opens with media persons (one of them being Viji Thambi himself, given his habit of appearing in a cameo a la Alfred Hitchcock) questioning the home minister as to what his government is doing regarding the suppression of the underworld don 'Bada Dosth'.
The minister assures them that steps have been taken to bring him to books. Enter Zakir Ali Mohammed, Commissioner of Police, all set to finish the regime of Beda Dosth. But Beda Dosth is a hard nut to crack and soon Zakir Ali finds himself suspended. But he is determined to finish off Beda Dosth and soon is brought face to face with the don. And then Beda Dosth, appreciating Zakir's intentions and integrity, begins to tell him how the upright Police Officer Dayashankar metamorphosed into Beda Dosth.
The villainous Gee Verghese, known popularly as GV, had ruined his family, but was later he was forced to join hands with the same GV.
Zakir becomes Beda Dosthe's fan and steps out of the latter's bungalow, calling his beloved Nadira, a television journalist, on his mobile phone and telling her that Beda Dosth is not what he thought he was. But the moment he switches off his phone, he is greeted by a bullet in his head. Beda Dosth comes out running and then, of course there is someone to capture him on video gun in hand standing next to Zakir's body. What happens after that forms the climax of Beda Dosth.
Suresh Gopi plays his part as Dayashankar alias Beda Dosth in his typical style, trotting guns, mouthing loud dialogues and fighting it out with the baddies.
Siddique as the villainous GV, who occasionally utters lines from the Bible, is also well-cast. Karthika as Nadira, Jyothirmayi as Dayashankar's wife Meenu, Cochin Haneefa as Beda Dosthe's aide Javed, Manoj K. Jayan as Zakir Ali, Riyaz Khan as the Circle Inspector Niranjan Das - all have played their respective roles in their respective styles.
M. V. Sajan's editing is crisp and tight, but apart from the stylish packaging, the film is just another Suresh Gopi-starrer, which doesn't impress you in any way. The post-interval session just bores you, even eliciting an occasional yawn. The old-time song "Kaadu kuliranu..." fails to impress.
Scenarist Babu Pallassery, Director Viji Thambi and others could have made the film a lot peppier.
It is a typical Suresh Gopi film that is OK till the interval, but post-interval it bores you to some extent, perhaps on account of moving on predictable lines and ending in a manner as you have seen umpteen number of times in Suresh Gopi films.
The film opens with media persons (one of them being Viji Thambi himself, given his habit of appearing in a cameo a la Alfred Hitchcock) questioning the home minister as to what his government is doing regarding the suppression of the underworld don 'Bada Dosth'.
The minister assures them that steps have been taken to bring him to books. Enter Zakir Ali Mohammed, Commissioner of Police, all set to finish the regime of Beda Dosth. But Beda Dosth is a hard nut to crack and soon Zakir Ali finds himself suspended. But he is determined to finish off Beda Dosth and soon is brought face to face with the don. And then Beda Dosth, appreciating Zakir's intentions and integrity, begins to tell him how the upright Police Officer Dayashankar metamorphosed into Beda Dosth.
The villainous Gee Verghese, known popularly as GV, had ruined his family, but was later he was forced to join hands with the same GV.
Zakir becomes Beda Dosthe's fan and steps out of the latter's bungalow, calling his beloved Nadira, a television journalist, on his mobile phone and telling her that Beda Dosth is not what he thought he was. But the moment he switches off his phone, he is greeted by a bullet in his head. Beda Dosth comes out running and then, of course there is someone to capture him on video gun in hand standing next to Zakir's body. What happens after that forms the climax of Beda Dosth.
Suresh Gopi plays his part as Dayashankar alias Beda Dosth in his typical style, trotting guns, mouthing loud dialogues and fighting it out with the baddies.
Siddique as the villainous GV, who occasionally utters lines from the Bible, is also well-cast. Karthika as Nadira, Jyothirmayi as Dayashankar's wife Meenu, Cochin Haneefa as Beda Dosthe's aide Javed, Manoj K. Jayan as Zakir Ali, Riyaz Khan as the Circle Inspector Niranjan Das - all have played their respective roles in their respective styles.
M. V. Sajan's editing is crisp and tight, but apart from the stylish packaging, the film is just another Suresh Gopi-starrer, which doesn't impress you in any way. The post-interval session just bores you, even eliciting an occasional yawn. The old-time song "Kaadu kuliranu..." fails to impress.
Scenarist Babu Pallassery, Director Viji Thambi and others could have made the film a lot peppier.
Chakkaramuthu
Chakkaramuththu, the eleventh directorial venture of writer-turned-director Lohithadas, has proved to be a big let down in almost all respects.
Lohithadas, who had earlier directed films like Bhoothakannadi, Arayannangalude Veedu, Joker etc, seems to have made the film in a rather carefree manner, paying little attention to important aspects like scripting, characterization etc. He has attempted to bank on Dileep's acting potential, especially his skills as an excellent mimicry artist. Of course he has been able to tap the actor's potentials in a commendable way, but that alone doesn't make for a good film. The director's attempt has thus to a very great extent misfired and hence watching Chakkaramuththu is not at all a pleasant experience.
The film tells the story of Aravindan, an expert tailor of ladies' garments, who is slightly challenged mentally, and is called by all and sundry as 'Pottan' (meaning a dunce). Aravindan is happy in his small world. He is romantically inclined towards Anitha, his childhood friend, whom he lovingly calls Unnimol.
Though Anitha likes him and is very free and friendly with him, her love for him is of a different kind. She has a world of her own which includes friends, college-mates, her uncles and of course her lover Jeevan, who makes his entry later. But Aravindan is an inevitable part of the lives of Anitha and her mother who live alone, and is like a member of their family.
Meanwhile Bombay Kumaran (in whose tailoring shop Aravindan works) and Santhosh (who runs a barber shop) frequently tease him and pass comments mocking his fondness for Anitha, and instigate him to do ridiculous things and make a fool of himself in front of others. As part of this they even persuade him to try to kiss Anitha and thus ensure that she too reciprocates his love. And when the innocent Aravindan attempts to do this, Anitha is shocked and bursts out at him. Aravindan is ashamed of himself and doesn't know what to do. It is at this juncture that Jeevan George, who is Anitha's lover, turns up. What happens from then forms the plot of Chakkaramuththu.
Dileep has tried his best to portray the character of Aravindan and he has come out really well, but the character lacks depth and life and doesn't impress us beyond the superficial level. Though the actor has done an excellent job, it was for the director and the writer(in this case both the same person) who had to see to this aspect.
Kavya Madhavan too has done a commendable job. Debutante Lakshmi as the heroine's mother too is impressive. Saikumar is perfect as the heroine's uncle Vijayaraghavan, a police officer. Cochin Haneefa as Bombay Kumaran is his usual self. Jishnu as Jeevan George is passable. Sarath as Dr. Rajeev Menon, who comes seeking Anitha's hand in marriage, has done his role perfectly well.
In spite of fairly good performances by the artists, the film doesn't impress you since it seems to be a mixture or a rehashed version of what you have seen in many films before. The climax, though touching, doesn't impress you at all. There is little to be said about the technical aspects or about the songs, which lack any kind of appeal. When you leave the theatre you don't carry even an iota of the film with you, and that is what makes it a let down coming from a craftsman of Lohithadasan's talent.
Lohithadas, who had earlier directed films like Bhoothakannadi, Arayannangalude Veedu, Joker etc, seems to have made the film in a rather carefree manner, paying little attention to important aspects like scripting, characterization etc. He has attempted to bank on Dileep's acting potential, especially his skills as an excellent mimicry artist. Of course he has been able to tap the actor's potentials in a commendable way, but that alone doesn't make for a good film. The director's attempt has thus to a very great extent misfired and hence watching Chakkaramuththu is not at all a pleasant experience.
The film tells the story of Aravindan, an expert tailor of ladies' garments, who is slightly challenged mentally, and is called by all and sundry as 'Pottan' (meaning a dunce). Aravindan is happy in his small world. He is romantically inclined towards Anitha, his childhood friend, whom he lovingly calls Unnimol.
Though Anitha likes him and is very free and friendly with him, her love for him is of a different kind. She has a world of her own which includes friends, college-mates, her uncles and of course her lover Jeevan, who makes his entry later. But Aravindan is an inevitable part of the lives of Anitha and her mother who live alone, and is like a member of their family.
Meanwhile Bombay Kumaran (in whose tailoring shop Aravindan works) and Santhosh (who runs a barber shop) frequently tease him and pass comments mocking his fondness for Anitha, and instigate him to do ridiculous things and make a fool of himself in front of others. As part of this they even persuade him to try to kiss Anitha and thus ensure that she too reciprocates his love. And when the innocent Aravindan attempts to do this, Anitha is shocked and bursts out at him. Aravindan is ashamed of himself and doesn't know what to do. It is at this juncture that Jeevan George, who is Anitha's lover, turns up. What happens from then forms the plot of Chakkaramuththu.
Dileep has tried his best to portray the character of Aravindan and he has come out really well, but the character lacks depth and life and doesn't impress us beyond the superficial level. Though the actor has done an excellent job, it was for the director and the writer(in this case both the same person) who had to see to this aspect.
Kavya Madhavan too has done a commendable job. Debutante Lakshmi as the heroine's mother too is impressive. Saikumar is perfect as the heroine's uncle Vijayaraghavan, a police officer. Cochin Haneefa as Bombay Kumaran is his usual self. Jishnu as Jeevan George is passable. Sarath as Dr. Rajeev Menon, who comes seeking Anitha's hand in marriage, has done his role perfectly well.
In spite of fairly good performances by the artists, the film doesn't impress you since it seems to be a mixture or a rehashed version of what you have seen in many films before. The climax, though touching, doesn't impress you at all. There is little to be said about the technical aspects or about the songs, which lack any kind of appeal. When you leave the theatre you don't carry even an iota of the film with you, and that is what makes it a let down coming from a craftsman of Lohithadasan's talent.
Vaasthavam
Hats off to director M. Padmakumar, who has come out with a very bold and different film in Vaasthavam. Padmakumar made his directorial debut with Ammakilikoodu and then gave us a very well-made Vargam, which however was not well accepted at the box office. And now with Vaasthavam, he proves that there still are directors who can tread fresh and unbeaten tracks and give us something new, something gutsy.
Vaasthavam takes us into the life of young Balachandran Adigal, the son of the idealistic Ramachandran Namboothiri. Balachandran is in love with young Sumithra, with whom he had grown up and who is also acceptable to Balachandran's parents and all their relatives.
All of a sudden an aged contractor Thrippan Namboothiri makes his entry with a marriage proposal for Balachandran. He wants Balachandran to marry his niece Surabhi and in exchange he proposes to secure him a job in the Government Secretariat, and because the family is in dire straits financially, he also promises to render financial help towards marrying off Balachandran's sisters.
Though Balachandran is dead against this, his family and even Sumithra convince him that it is the best option and he willy-nilly agrees to it. On his marriage night itself, his sister elopes with her lover, who is from another caste.
Balachandran reaches the capital city and meets Unnithan, who wields considerable influence over the bureaucracy. Unnithan gets Balachandran into government service in the secretariat. Though aged, Unnithan is a veteran of sorts and has his own ways and principles, which are practical though not very idealistic. He becomes a sort of a godfather for Balachandran and trains him in the art of receiving bribes and even tells him how to manage things in today's world.
After he sheds his ideals and principles, Balachandran takes all kinds of shortcuts, uses everyone for achieving his purposes and starts climbing the ladder of success. He very soon becomes the private secretary of Revenue Minister Pattom Raveendran, by his very clever machinations and manipulations. He becomes influential and rich, at a very young age. He uses Vimala Thankachi, the Minister's niece to take his first step towards success, and then uses the Minister's wife Radhamani, a goonda named Vasu and others to continue to prosper. But things are not so good in his personal life...
Director M. Padmakumar and writer Babu Janardhanan have done a really good job. The subject is well-chosen and the treatment is up to the mark.
Performance by Prithviraj as Balachandran is excellent. Kavya Madhavan as Sumithra, Samvritha as Surabhi and Sindhu Menon as Vimala Thankachi do their respective roles well. However, it's Jagathy Sreekumar who scores best as Unnithan. Murali as the minister Pattom Raveendran and Salim Kumar as Thrippan Namboothiri have also done justice to their roles.
The others in the cast are also OK, except perhaps Rajmohan Unnithan, who has to learn that acting is a lot different from delivering political speeches. Cinematography by Manoj Pillai, Art Direction by Saloo K. George and Editing by L. Bhoominathan are in sync with the theme.
Songs penned by Gireesh Puthencherry and set to tune by Alex Paul have also come off very well and merge with the film and the storyline.
In total Vaasthavam is a well-made film which has a very well worked out climax.
Vaasthavam takes us into the life of young Balachandran Adigal, the son of the idealistic Ramachandran Namboothiri. Balachandran is in love with young Sumithra, with whom he had grown up and who is also acceptable to Balachandran's parents and all their relatives.
All of a sudden an aged contractor Thrippan Namboothiri makes his entry with a marriage proposal for Balachandran. He wants Balachandran to marry his niece Surabhi and in exchange he proposes to secure him a job in the Government Secretariat, and because the family is in dire straits financially, he also promises to render financial help towards marrying off Balachandran's sisters.
Though Balachandran is dead against this, his family and even Sumithra convince him that it is the best option and he willy-nilly agrees to it. On his marriage night itself, his sister elopes with her lover, who is from another caste.
Balachandran reaches the capital city and meets Unnithan, who wields considerable influence over the bureaucracy. Unnithan gets Balachandran into government service in the secretariat. Though aged, Unnithan is a veteran of sorts and has his own ways and principles, which are practical though not very idealistic. He becomes a sort of a godfather for Balachandran and trains him in the art of receiving bribes and even tells him how to manage things in today's world.
After he sheds his ideals and principles, Balachandran takes all kinds of shortcuts, uses everyone for achieving his purposes and starts climbing the ladder of success. He very soon becomes the private secretary of Revenue Minister Pattom Raveendran, by his very clever machinations and manipulations. He becomes influential and rich, at a very young age. He uses Vimala Thankachi, the Minister's niece to take his first step towards success, and then uses the Minister's wife Radhamani, a goonda named Vasu and others to continue to prosper. But things are not so good in his personal life...
Director M. Padmakumar and writer Babu Janardhanan have done a really good job. The subject is well-chosen and the treatment is up to the mark.
Performance by Prithviraj as Balachandran is excellent. Kavya Madhavan as Sumithra, Samvritha as Surabhi and Sindhu Menon as Vimala Thankachi do their respective roles well. However, it's Jagathy Sreekumar who scores best as Unnithan. Murali as the minister Pattom Raveendran and Salim Kumar as Thrippan Namboothiri have also done justice to their roles.
The others in the cast are also OK, except perhaps Rajmohan Unnithan, who has to learn that acting is a lot different from delivering political speeches. Cinematography by Manoj Pillai, Art Direction by Saloo K. George and Editing by L. Bhoominathan are in sync with the theme.
Songs penned by Gireesh Puthencherry and set to tune by Alex Paul have also come off very well and merge with the film and the storyline.
In total Vaasthavam is a well-made film which has a very well worked out climax.
Yes Your Honour
Yes Your Honour, which comes from one of the most reputed producers of Malayalam Cinema, P.V. Gangadharan of Grihalakshmi Productions and is directed by V.M. Vinu of Balettan fame, is an enjoyable film that reiterates the importance and relevance of moral values in today's world.
Ravi Shankar, a law graduate worked as an assistant to senior advocate Venugopal, who had his hands full of cases. Ravi Shankar is an idealist and joined the legal profession to be of service to society. His shrewd observations on various aspects of a case and his thorough understanding of the nuances of law provided the perfect inputs for Venugopal. But the latter always took the credit, habitually degraded Ravi Shankar and treated him more like a domestic servant than as a legal practitioner. He is never given a chance to appear in any case.
Ravi Shankar had married Maya, a women's rights activist who belonged to a rich family, against the wishes of her father Krishnan or brother Gopi Krishnan, both of whom are hand in gloves with a gang of baddies led by ex-minister Isaac Samuel and his aide Mustafa. It is advocate Venugopal who had been appearing in court for Isaac Samuel and his group in all kinds of criminal cases.
On the recommendation of Appukuttan, Venugopal's clerk, Ravi is for once given an opportunity to handle a case on behalf of a client. Ravi works hard preparing for the hearing, only to learn at the last moment that the case has been handed over to another assistant. Ravi is frustrated and even manhandles Venugopal and leaves him for good. Venugopal decides to make life hell for Ravi and sees to it that no other lawyer hires him as an assistant. But a judge named Mukundan and 'Sakshi' Mani, who helps advocates by providing them with fake witnesses, come to his succour. Ravi is also helped by his friend and former classmate Prakash, who is an honest police officer. He is recommended to the panel for the post of Public Prosecutor. Meanwhile, owing to the timely intervention of Judge Mukundan, he is handed the responsibility of handling a case relating to the murder of Deputy Forest Officer Sharath Shetty. As a mater of coincidence, the real culprits in the case are Isaac Samuel and his group and hence Ravi has to battle his former senior Venugopal in the court. What happens then on forms the rest of Yes Your Honour.
Sreenivasan performs the role of the protagonist Ravi Shankar in his characteristic style. Padmapriya is OK as Maya. Saikumar in the role of Isaac Samuel does his role convincingly, while Innocent is in full form as Venugopal. Jagathy Sreekumar as Sakshi Mani is his usual self and is no doubt the best choice for the role. Suresh Krishna gets a change of image, playing a positive character, that of Prakash, the honest and daring cop. Thilakan does the role of Mukundan convincingly. Riyaz Khan as Gopi Krishnan, Sreeraman as Krishnan, and Babu Namboothiri as Appukuttan fit into their respective roles very well.
Veteran scenarist T. Damodharan proves once again that time has not taken the fire out of him and that he still can write scripts that are relevant to the day. Cinematography by Shaji, editing by P.C. Mohanan and Art Direction by Bawa are in tune with the theme. Of the songs penned by Vayalar Sharath Chandra Verma and set to tune by Deepak Dev, ''Chellam Chellam...'' and ''Chillakombile...'' stand out though they may not top the charts. To sum up, though Yes Your Honour may not become a sensation at the box office, it is not a bad film to watch at least once, especially because it reiterates values and ideals that have been eroded and seem out of context in today's world, and are rarely seen glorified in films.
Ravi Shankar, a law graduate worked as an assistant to senior advocate Venugopal, who had his hands full of cases. Ravi Shankar is an idealist and joined the legal profession to be of service to society. His shrewd observations on various aspects of a case and his thorough understanding of the nuances of law provided the perfect inputs for Venugopal. But the latter always took the credit, habitually degraded Ravi Shankar and treated him more like a domestic servant than as a legal practitioner. He is never given a chance to appear in any case.
Ravi Shankar had married Maya, a women's rights activist who belonged to a rich family, against the wishes of her father Krishnan or brother Gopi Krishnan, both of whom are hand in gloves with a gang of baddies led by ex-minister Isaac Samuel and his aide Mustafa. It is advocate Venugopal who had been appearing in court for Isaac Samuel and his group in all kinds of criminal cases.
On the recommendation of Appukuttan, Venugopal's clerk, Ravi is for once given an opportunity to handle a case on behalf of a client. Ravi works hard preparing for the hearing, only to learn at the last moment that the case has been handed over to another assistant. Ravi is frustrated and even manhandles Venugopal and leaves him for good. Venugopal decides to make life hell for Ravi and sees to it that no other lawyer hires him as an assistant. But a judge named Mukundan and 'Sakshi' Mani, who helps advocates by providing them with fake witnesses, come to his succour. Ravi is also helped by his friend and former classmate Prakash, who is an honest police officer. He is recommended to the panel for the post of Public Prosecutor. Meanwhile, owing to the timely intervention of Judge Mukundan, he is handed the responsibility of handling a case relating to the murder of Deputy Forest Officer Sharath Shetty. As a mater of coincidence, the real culprits in the case are Isaac Samuel and his group and hence Ravi has to battle his former senior Venugopal in the court. What happens then on forms the rest of Yes Your Honour.
Sreenivasan performs the role of the protagonist Ravi Shankar in his characteristic style. Padmapriya is OK as Maya. Saikumar in the role of Isaac Samuel does his role convincingly, while Innocent is in full form as Venugopal. Jagathy Sreekumar as Sakshi Mani is his usual self and is no doubt the best choice for the role. Suresh Krishna gets a change of image, playing a positive character, that of Prakash, the honest and daring cop. Thilakan does the role of Mukundan convincingly. Riyaz Khan as Gopi Krishnan, Sreeraman as Krishnan, and Babu Namboothiri as Appukuttan fit into their respective roles very well.
Veteran scenarist T. Damodharan proves once again that time has not taken the fire out of him and that he still can write scripts that are relevant to the day. Cinematography by Shaji, editing by P.C. Mohanan and Art Direction by Bawa are in tune with the theme. Of the songs penned by Vayalar Sharath Chandra Verma and set to tune by Deepak Dev, ''Chellam Chellam...'' and ''Chillakombile...'' stand out though they may not top the charts. To sum up, though Yes Your Honour may not become a sensation at the box office, it is not a bad film to watch at least once, especially because it reiterates values and ideals that have been eroded and seem out of context in today's world, and are rarely seen glorified in films.
Karutha Pakshikal
The Kamal-directed Karuththapakshikal is a well-made, touching film that is rather slow- paced, realistic and shorn of all glamour and glitter, essential factors in a commercial venture.
Murugan, a migrant from Tamil Nadu ekes out a living by ironing clothes on the street. His wife Muththulakshmi is no more and he is the one who looks after his three children Azhagu, Mayil and Malli. While Azhagu and Mayil go to school, Malli goes along with her father, because she is blind. The big wish that Murugan has is that his daughter should be able to see someday. He knows that this can be done only if someone donates eyes to her. He also knows that the operation would incur huge expenses, well beyond his means.
Murugan and his children live in a slum. Among their neighbours are Muthu and family who live by making pappads, and Poonkodi who makes a living by begging on the streets. Poonkodi has a special place in her heart for Murugan and his family.
Murugan is a regular visitor at the big house owned by Chandramohan and his wife Anitha. Chandramohan has a sister Suvarna, who is in Mumbai with her husband. Another member of the house is Warrier, who is sort of a caretaker and is very cordial towards Murugan, who comes there for ironing. Suvarna comes from Mumbai to stay with her brother. She is suffering from a terminal disease and finds solace in music. She develops a fondness for little Malli. She knows that her days are counted and wants to donate her eyes to Malli. What follows then forms the plot of Karuththapakshikal.
Mammootty, in a deglamorised role as Murugan does his role perfectly well. Meena as Suvarna, Padmapriya as Poonkodi and Jagathy Sreekumar as Warrier are their usual selves. Padmapriya occasionally overdoes her bit and her character seems to be one that we have come across in umpteen films. The children Thejas, Suhaila and Malavika as Azhagu, Mayil and Malli respectively do their roles in a commendable manner. Salim Kumar as the drunkard Shanmughan is also good.
Cinematography by director Kamal's favourite cameraman P. Sukumar is well in tune with the theme. Of the songs penned by Vayalar Sarath Chandra Varma and set to tune by Mohan Sithara, "Mazhayil raathri mazhayil..." and "Venmukil etho..." have come out really good.
Though the film is well-made, it is not without its drawbacks. This reviewer feels that at certain times, the children, especially the blind Malli speak and behave like grown ups. You don't carry much of the film with you once you leave the theatre, and that perhaps is the reason for the initial lukewarm response at the box office.
To sum up, Karuththapakshikal is a well-made film that impresses to a limited extend but doesn't remain in your heart for long.
Murugan, a migrant from Tamil Nadu ekes out a living by ironing clothes on the street. His wife Muththulakshmi is no more and he is the one who looks after his three children Azhagu, Mayil and Malli. While Azhagu and Mayil go to school, Malli goes along with her father, because she is blind. The big wish that Murugan has is that his daughter should be able to see someday. He knows that this can be done only if someone donates eyes to her. He also knows that the operation would incur huge expenses, well beyond his means.
Murugan and his children live in a slum. Among their neighbours are Muthu and family who live by making pappads, and Poonkodi who makes a living by begging on the streets. Poonkodi has a special place in her heart for Murugan and his family.
Murugan is a regular visitor at the big house owned by Chandramohan and his wife Anitha. Chandramohan has a sister Suvarna, who is in Mumbai with her husband. Another member of the house is Warrier, who is sort of a caretaker and is very cordial towards Murugan, who comes there for ironing. Suvarna comes from Mumbai to stay with her brother. She is suffering from a terminal disease and finds solace in music. She develops a fondness for little Malli. She knows that her days are counted and wants to donate her eyes to Malli. What follows then forms the plot of Karuththapakshikal.
Mammootty, in a deglamorised role as Murugan does his role perfectly well. Meena as Suvarna, Padmapriya as Poonkodi and Jagathy Sreekumar as Warrier are their usual selves. Padmapriya occasionally overdoes her bit and her character seems to be one that we have come across in umpteen films. The children Thejas, Suhaila and Malavika as Azhagu, Mayil and Malli respectively do their roles in a commendable manner. Salim Kumar as the drunkard Shanmughan is also good.
Cinematography by director Kamal's favourite cameraman P. Sukumar is well in tune with the theme. Of the songs penned by Vayalar Sarath Chandra Varma and set to tune by Mohan Sithara, "Mazhayil raathri mazhayil..." and "Venmukil etho..." have come out really good.
Though the film is well-made, it is not without its drawbacks. This reviewer feels that at certain times, the children, especially the blind Malli speak and behave like grown ups. You don't carry much of the film with you once you leave the theatre, and that perhaps is the reason for the initial lukewarm response at the box office.
To sum up, Karuththapakshikal is a well-made film that impresses to a limited extend but doesn't remain in your heart for long.
Pakal
Pakal - the debut directorial venture of M.A. Nishad, delves into a very relevant and serious issue and offers solutions too, but there are certain things that don't seem to have worked out well in the realization of the theme, speaking on cinematic terms.
Pakal takes us into the world of the hapless peasants of Wyanad District of Kerala, who are forced to commit suicide following financial problems. Nandakumar, who is a reporter of the television channel Kerala Today, and his friend and cameraman Abu are sent to Pannakamkudi to do a regular series on the plight of the farmers of the area. Crop failure, low prices for agricultural produce, inability to repay loans issued by banks, cut-throat interest rates charged by private financiers and above all the red-tapism that is inherent in government procedures - all these have been driving peasants of this area to commit suicide in large numbers. It is to probe this situation that Nandakumar and Abu have set out.
At the outset they meet old Kunjappan, who has been holding a dharna for 14 years to get justice from the authorities. And then they meet Thenginthottathil Joseph and his family members, who are in the grip of severe financial problems and on the brink of desperation and even suicide. Joseph's eldest daughter Merlin is working in a private firm whereas his second daughter Celine is a medical student. It is on Celine that they pin all their hopes. The probe conducted by Nandakumar and Abu disrupts the sleep of many, including the shrewd and heartless moneylender Ummachchan. In the meantime certain untoward happenings take place in Joseph's family. What all follows forms the plot of Pakal.
The makers of the film should be appreciated for their bold attempt to look into a sensitive issue. But at the same time the pace of the film and the treatment it is given tend to be akin to that of a documentary, and that makes the film rather unappealing to the masses.
Prithviraj as Nandakumar, Jyothirmayi as Celine, Sudheesh as Abu, Thilakan as Kunjappan and T.G.Ravi as Joseph have done full justice to their respective roles. And so has Jagadeesh as Ummachchan. The others in the cast too have performed well. Cinematography by Vipin Mohan, editing by P.C. Mohanan and art-direction by Mahesh Sridhar are in tune with the theme. The songs penned by Gireesh Puthencherry and set to tune by M.G. Radhakrishnan are good but may not catch much attention, this being a low-profile film. The scenarist and the director could have worked better on the subject and should have made it more appealing to the viewers.
Pakal takes us into the world of the hapless peasants of Wyanad District of Kerala, who are forced to commit suicide following financial problems. Nandakumar, who is a reporter of the television channel Kerala Today, and his friend and cameraman Abu are sent to Pannakamkudi to do a regular series on the plight of the farmers of the area. Crop failure, low prices for agricultural produce, inability to repay loans issued by banks, cut-throat interest rates charged by private financiers and above all the red-tapism that is inherent in government procedures - all these have been driving peasants of this area to commit suicide in large numbers. It is to probe this situation that Nandakumar and Abu have set out.
At the outset they meet old Kunjappan, who has been holding a dharna for 14 years to get justice from the authorities. And then they meet Thenginthottathil Joseph and his family members, who are in the grip of severe financial problems and on the brink of desperation and even suicide. Joseph's eldest daughter Merlin is working in a private firm whereas his second daughter Celine is a medical student. It is on Celine that they pin all their hopes. The probe conducted by Nandakumar and Abu disrupts the sleep of many, including the shrewd and heartless moneylender Ummachchan. In the meantime certain untoward happenings take place in Joseph's family. What all follows forms the plot of Pakal.
The makers of the film should be appreciated for their bold attempt to look into a sensitive issue. But at the same time the pace of the film and the treatment it is given tend to be akin to that of a documentary, and that makes the film rather unappealing to the masses.
Prithviraj as Nandakumar, Jyothirmayi as Celine, Sudheesh as Abu, Thilakan as Kunjappan and T.G.Ravi as Joseph have done full justice to their respective roles. And so has Jagadeesh as Ummachchan. The others in the cast too have performed well. Cinematography by Vipin Mohan, editing by P.C. Mohanan and art-direction by Mahesh Sridhar are in tune with the theme. The songs penned by Gireesh Puthencherry and set to tune by M.G. Radhakrishnan are good but may not catch much attention, this being a low-profile film. The scenarist and the director could have worked better on the subject and should have made it more appealing to the viewers.
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