'Don't waste time on watching movies, the useless time killers!' I brought up hearing this from every angle. But, watching genuine movies is as much as meaningful as reading novels. Novels convey the VIBGYOR in life; movies too do. How food and beverages to body; books and movies to mind. I couldn't visit many places, I couldn't meet more people and I couldn’t experience more life; but, unknown facets of life flowed to me through movies and books. For me, movies and books are the best universities. I do rate people by understanding the types of books he/she reads or movies he/she watches. Literature and art transmit superlative feel. But, taste varies from man to animal. After reading a novel or watching a movie, if you didn't undergo a transformation, then the particular novel or movie seems to be waste. A positive change to my 'thinking stream' is what I anticipate from a movie; the alchemist.
Akale, Ritu, Ore Kadal and Arike are unique from diversity. Shyamaprasad stands out among the directors in Malayalam. He brought perfectionism in his movies and the numbers of awards on his show-case show cases his talent.
‘Akale‘ was a story of an Ango-Eastern family lives in Keralam. Every characters in film possessed distinctiveness in outlook. Shyamaprasad drew out even minute fragments of their daily life. The movie concealed an overwhelming sense of life from a different angle. Prithviraj’s performance as a writer in the making with no support from surroundings, Sheela’s performance as a helpless possessive mother and Geethu Mohandas’s performance as one with no confidence for the state what she is on pooled as a family on screen and this chemistry made the movie a unforgettable one.
‘Ritu’ shed the leaves of changes happens in humans over the course of seasons. 3 intimate childhood friends rejoin after a long while in intention to run their life together. The trio represents many friendships seen in new generation without minding gender. Nishan’s role was the vital one in the story. Casting done for Nishan’s brother’s character was outstanding. Rima Kallingal lived in the movie as a metro girl who is unhappy about the family life and fallen in materialistic horizons around her. She was accessible to more than one man at a time; a typical modern girl who is well-educated and independent in modern society who is dare enough to think out of the obsolete box made by generations over years. ‘Ritu’ was a signpost in Malayalam film industry which initiated so called new-generation movies.
‘Ore kadal’ was made based on a Bengali novel. The protagonist of the story is an unmarried intellectual economist who considers his sexual needs as something which has to be dumped on any girl whom he gets attracted towards. The movie starts from a point at which he cheers up on the death of his only one relative in the world. He loved to live alone without commitments to anyone. Life situations of 2 entirely different humans were the gist of the story. Mammootty and Meera Jasmine were the best medium which could Shyamaprasad could use for the communication in his mind. The two characters joined for an impulsive reason. But, at a point of time the ratio between lust and love have come into view and it lead the two lives on the screen! Music by Ouseppachan was a vital fator to this movie’s identity.
Srinath Rajendran's 'Second show' was special in many aspects like young and talented new crew, background music and reality pulse. Dulquer Salmaan and Sunny Wayne made a warm entry to film field through their genuine show on the movie. I was amazed to get a Hollywood feel out of this movie. The way of ending lives and relations being shown were interesting and judicial to the ground reality. Hero lost his heroine with the most common reason. Theme, cast, music, story, humor.. Etc.. made the movie an outstanding one.
'Malarvadi Arts Club' was Vineeth Sreenivasan's new venture as director. It was a youngster-centric movie, which represents the talented youth who remain unnoticed in villages.
‘Spirit’ is an attractive movie name and the name in small font beneath the movie name was another major magnetism of this movie. Many people guessed that the movie theme will be something related to ‘spirit smuggling’. I watched this satirical movie on the ‘releasing night’ itself. Theatre was crowded with Malayalam-noise. The movie shows that when it comes to any sort of addiction, intelligence and education of someone becomes inferior. The recent trend seen in Kerala youth towards alcoholism has been considered as an ‘accepted life style’ and as a natural instinct of society in general, rather than categorizing it as a cultural pest. The new born baby of Ranjith explored the raw-life of a genius who is also a chronic drunkard in nature. Ranjith’s casting for this challenging role was finest. Mohanlal’s character-presentation as a supercilious whiz kid with special perception towards life on having a fuel in him called ‘spirit’ was inimitable. He carried out his first English novel venture sitting at bar with no barrier to pegs of expensive brands. Mohanlal’s each and every boozing gulp-down was welcomed with unstoppable applause by the ‘majority’ of the theatre crowd; since it seemed like a recognition to those who are dare to drink! The post divorce life of Mohanlal’s character with the divorcee Kanika’s character initiated for a new conception. On the ground of this intellectual-couple’s bilaterally encouraging separation, Ranjith effectively explained that ‘some’ married life has an uncanny dimension and it’s beyond love, sex and mutual trust. The divorced couple lived as best friends along with the warm presence of ‘new face’ happened to their life. Kanika is naturally tall and looked attractive and captivating. Kanika’s married life advertised the luxury, soothe and comfort of the elite class’s pleasurable life. Sidharth Bharath’s body language as a young versifier with an inevitable addiction to drinks stood out. His silent gaze itself communicated a lot. The responsible artist in Ranjith tried hard to install Sidharth’s blood vomiting face in minds of mislead-youth. Nandu got his best role in his career. He brilliantly reproduced the gesticulations and traits of a fully fledged drunkard. He loved ‘spirit’ rather than his family and life. He drunk whole of his days and remained slept on street like filthy dogs. ‘Spirit’ in him lessened the difference between him from wild animal. His character is a manifesto to every fragile gentleman who encountered in front of artificial illusion of ‘spirit’. Kalpana represented a lady of regrettable class of oppressed who lead their life like soiled poultry in cage. Every characters in the movie carried high degree of eccentricity. Thilakan, Tini Tom and Lena have notably performed in the show. Again, this piece of art on silver screen became a movie of Ranjith rather than the movie of Mohanlal! The movie underlined that ‘wine is bottled Satan’.
Vinneth Sreenivasan's 'Thatathin Marayath' was a beautiful love film. Nivin Pauly and Isha Talwar made pleasing pair. Director added a pretty good flavor of humor thorough out the film. The movie might inspire the youth for inter-religious marriages. I enjoyed Kozhikodan dialect in the movie.
'Friday', directed by Lijin Jose was a beautiful visual experience. Brilliant casting, vibrant flow of story and neatly trimmed screen-play made the film extraordinary. Genuineness was the base of direction. And, the director deserves a pat on his shoulder for avoiding adulteration with exaggeration throughout the life in a day of a handful of middle class humans who value tear drops than currencies. 'Friday' spewed lava of humanity and kindness, which have been gradually found vanishing in the current networking society. The movie would make at least a few of it's viewers courageous to help another (strangers or acquaintances) for no reason or for no materialistic benefits. 'Friday' was a breast-feed to the real lovers of life and it's inexplicable meaning!
'Trivandrum Lodge' by VK Prakash and Anoop Menon team was an experimental attempt. It brought a visual difference on screen though movie was simple in it's theme. Genuine dialogue presentation was the highlight of this movie. Movie was all about varying approaches from different people to gain sexual opportunities. Jayasurya performed good. All the ladies-interventions on the movie was appreciable. M Jayachandran made good songs which would stay in mind for more time. This movie might appear as a 'mischievous brat' in front of eyes of those who live in public hiding their sexual passion by believing 'sex is an abandoned fruit'.
I watched 'Ayalum Nhanum Thammil' by Laljose in a rainy and chilling night. Strong story by Bobby Sanjay was a concrete platform for the director to proceed. Prathap Pothen's performance was irreplaceable. He met perfection on this movie. Other casting crew including 3 beautiful actresses and 2 handsome actors done well. Kalabhavan Mani and Salim kumar also being noted for the quality delivered on screen. The relation between a senior and his son-like junior was a different stuff presented to Malayalis. Many dialogues and contexts in the movie brought out the hidden emotions in me. The film was simple and one of the best of the year.
Ashiq Abu's 'Da thadiya' was fat in terms of humor, social importance, motivation and presentation. The director continuously proved his sheer talent at his job. His microscopic care given to every scenes increased the quality of the movie up to a great extend. The big new face in the movie performed a magic. Every smile and grief reflected on his face were potent enough to penetrate into beholder's hearts. The movie beautifully narrated the foolish mentality we could experience around us toward obesity, ayurvedic spas and the flavor of a different love seen in the movie between the hero and heroine. The scenes between Luka with his Grand mother stood out. The grand mother's words actually gives enormous inspiration and energy to live in to many of the 'Lukas' in the society. The fight scenes at the end of movie were of below standards.
G S Vijayan's debut venture as a director gifted a new talent to Malayalam film industry. Ranjith's story was beautiful and he justified his brilliance once more. Kavya Madhavan's presence was the best thing happened to this life-smelt movie. Her Kasaragod dialect presentation has turned up as a major attraction of the movie. She clearly sketched out mannerisms of a Malayali home maker who is good at heart. Her body language and confidence reached saturation and set new bench marks. Shankar Ramakrishnan's vibrant performance was irreplaceable. His intelligence and dedication seen at every point of his performance on screen literally proved that he has a clear cut idea and identity about acting. Vineeth came up with another strong character after 'Arike'. The degree of representing the character given to him was high and he could smoothly handle it. His accent presentation was also notable. Harishree Ashokan and Kanika played an entirely different role in the movie. It was real entertainment to welcome those two interesting characters of different flavor. Bed ridden Augustine's scene was an innovative input to the movie. Rest of the crew who did every minor and major roles looked very matured and relevant to the situation and character. Mammootty made a decent performance as a loyal driver although his role was not a challenging one; perhaps a boring repetitive assignment being gotten. Director blended an essence of humor throughout the movie and it was being squeezed straight from the real life. Cinematography by Manoj Pillai was impeccable. As a whole, the style of narration, real life correlation, group comfort among the crew, flow of the movie and music made the winning formula. One of the best movies in Malayalam watched over last couple of years.
‘Celluloid’ by Kamal is a biopic based on J C Daniel’s life. Kamal succeeded in going back to decades and to visualize the right-life of that time which makes real tribute to the father of Malayalam Film industry. Cinematography, music, casting and art direction enhanced the eminence of the movie. Prithviraj came up with another genuine performance followed by his delivery in Vasthavam, Vargam, Akale, Indian Rupee and Ayalum Njanum Thammil. J C Daniel’s death scene was a notable segment by Prithviraj. Entire crew maintained cohesive harmony in dialect presentation and body language driven by sense of change in era with an in-depth insight about the theme and character allocated. Degree of dedication put in by entire crew starting with Mamtha, Chandni, T G Ravi and Sreenivasan made the film an indisputable artifact. Let this palpable endeavor by Kamal encourage the upcoming directors to make exceptional movies in Malayalam.
'Ammen - a divine comedy', one of the top classic drama movies in Malayalam. Every elements of this experimental movie brought difference with quality on screen. Comic flow, music, talented cast, heartening theme and art value were add on factors to the entire presentation. The director deserves applause for this unbelievable delivery!
‘Mumbai Police’ is a neo-noir psychological thriller directed by Roshan Andrrews. Bobby-Sanjay delivered an effervescent investigation crime story with an extremely thrilling climax at the end. The movie is of same genre of ‘Memento’ by Christopher Nolan and ’The bourne identity’ starring Matt Damon. Both the films unveil a crime story in the backdrop of excessive memory lose of the lead characters after own identity. Prithviraj and Jayasurya performed their role with utmost insight. The director easily visualized the pulse of life in the upper crust of the society. Twists found at various point of time in the movie keeps the mob thrilled and stick to the story flow. The movie found to be unique in terms of style of direction, cinematography, back ground score, dedication of crew to the fullest and authenticity of presentation. These make ‘Mumbai Police’ one of the best crime thrillers in Malayalam.
'Artist' by Shyamaprasad portrays a life of a brilliant painter and his partner. Vibrancy of Fahad and Ann raised up to the expectations which Shyamaprasad's characters in the movie had to have. This quality-film pulls much more concentration from viewers as the theme of the movie is artistic and perceptual.
Anil Radhakrishnan’s ‘North – 24 Katham’ is an endearing conception by Fahad fazil and crew. Swaty Reddy and Nedumudi Venu lived their roles in fact and made their presence irreplaceable. Fahad’s character in the movie was unique as it was suffering from Obsessive Compulsive Disorder. Situational humor, humanitarian values imparted in the theme, director’s eye for detail, realness etc made the movie an incomparable one of recent times.
Watching movies are not just an activity of pass of time, its a constructive deed. The face of Malayalam films are changing. The taste of waiting for the next movie has reborn in Malayalees. Let's wait, watch and enjoy :)