Monday, November 11, 2013
Sunday, November 10, 2013
Ayalum Njanum Thammil Review
(3 / 5) : Good
Lal Jose's third film of the year is a testimony to the kind of terrific director that he is; one who seems to have an almost miraculous way of shrouding the fissures in a script with a wave of his magic wand. 'Ayaalum Njanum Thammil' is a sentimental wallop of a film, which stands witness to one such revival, and the results are impressive.
The narrative flips from the present to the past and then back and forth repeatedly, and it takes a while before you get accustomed to these purposive jerks in the story line. The making of a doctor, or perhaps the making of a man is what is intended to be eventually arrived at, and almost an hour passes by before the film shifts gear. Dr. Ravi Tharakan (Prithviraj) gets posted at a rural hospital for two years, after having passed his examinations with great difficulty. The kind of doctor who can't say a diagnosis from a prognosis, Ravi has had a comfortable life till date, being in love and ragging juniors at college. However, at the rural hospital, things appear quite glum.
After a pretty much shaky start that involves a campus song, there arrives a messiah in sight in the film, who does an astounding trick of pulling back an almost derailed train back on the tracks. Dr. Samuel (Prathap Pothen), who runs the Redemption Centre at a misty old town in Munnar redeems not just the ailing and the less fortunate, but the entire film itself, as his seemingly brittle yet powerful presence trickles into us like the chill in the air that gently seeps in and refuses to go.
Dr. Ravi Tharakan cannot simply be hoisted to the iconic status of a conventional hero, because unlike the conformist idols, this is a man who has to deal with severe losses in life. There are a couple of occasions in the film when he breaks down totally; and the tears that he sheds make him more of a man and less of a staggering icon.
The first time he lets grief overpower him is when he realizes that a life with Sainu (Samvrutha Sunil) has suddenly turned out of bounds. When she is dragged away and forced into a nikaah with a stranger, Ravi and his memories of her, learn to sleep on a pillow moistened with the tears that drip down the corners of his eyes. Months later, his eyes well up again, this time with guilt and remorse, and perhaps the joy of discovering the man that he has always been destined to become, as he finds himself face to face with a judicial board set up to inquire into an alleged medical negligence on his part.
The self discovery lands Ravi on the worn down steps of an old school, where he sits chatting with a young patient who gushes excitedly about a nebulizer that Dr. Samuel has gifted her with. Ravi nods on with a tender smile, and gently places his palm over her tiny feet in unvoiced acknowledgement.
Surprisingly the women get to occupy the shady corners of the film, whether it be Diya (Rima Kallingal), the private secretary to the hospital chairperson, who unearths a few secrets on her own or Dr. Supriya (Remya Nambeesan), Ravi's colleague who stands by him through some testing times. The romance between Sainu and Ravi seems underplayed almost, and the chemistry that had made the pair look tremendously appealing on screen, is sadly found to be missing here.
Prithvi is spectacular as Ravi Tharakan, and the film could easily boast of his best performance this year. The young actor has meticulously brought about a precision to his essayal of the doctor, that is the best thing about 'Ayaalum Njanum Thammil'. Lending him ample support is Prathap Pothen, who with his melancholic eyes and almost apologetic smile, competently brings Dr. Samuel to life.
Jomon T John's cinematography leaves us spell bound yet again, not because of any visual wizardry that it displays on screen, but because of the delightful lethargy, as oxymoronic as it might sound, with which it lets those tiny emotions flutter and fall across the plains of your mind. The camera lingers on and on, wanting you almost, to take in every little bit that it has on offer, never letting you miss out on even the tiniest of details.
'Ayaalum Njanum Thammil' feels like a tapestry that is matted with threads of personal discovery, the emotional results of which are overpowering. Impressively directed and acted, this moving drama touches upon a lofty theme that deserves an ovation.
Left Right Left Review
(3 / 5) : Good
Arun Kumar Aravind's 'Left Right Left' is a daring, warm and thought provoking piece of film making that moves beyond the routine realm of politics. In shaping this hard-hitting and persuasive thriller, the director along with writer Murali Gopy deploys several inventive gambits that send formalistic structures of film making flying away in the winds.
Kaitheri Sahadevan (Hareesh Peradi) rises to the stature of the most venerated and feared Communist leader in the state, after having been through a despondent childhood that saw both his father and uncle being slain by oppressors. The year is 1976, when on a dark night, another attack leaves young Roy Joseph stranded on the street, with his bleeding dad breathing his last on his lap. He grows up to be Che Guvera Roy (Murali Gopy), and is hacked left and right by a bunch of assailants on the campus, rendering him incapacitated for life.
Ten years later, in 1986, a desperate boy watches the oxygen mask being snatched away from his sister's face, to be provided to a more affluent patient. He learns that the world around him could be mean and unjust and vows to be a cop one day to seek justice. At the police department he earns the nickname Vattu Jayan (Indrajith) for his reckless ways, and remains equally obsessed with Jennifer (Remya Nambeesan), a young girl on the run from her abusive husband and Anitha (Lena) on whom he develops a sister fixation.
'Left Right Left' is a ferocious exploration of the hard-hitting realities that we see all around us. Never purposefully sentimental or theatrical, it's made of raw emotions that make up human lives. The candid and intimate investigation that leads to a cathartic finale makes us realize that possibly the truth is not out there, where we believe it to be. It delivers those slaps, left, right and center, and almost all of them land right on place.
The four chief women characters in the film have in common only the period in which they live, and the fact that they are all survivors. Proclaiming herself to be both Aleida March and Hilda Gadea, Anitha is much more than a wife to Roy, while Jennifer doesn't think twice before crushing a few lives under her heels to get away from a life of torture and gloom. Deepa (Anusree) lives in constant dread and terror of an impending tragedy, while Jayan's mother (Sethulakshmi) refuses to break down, even as the last bit of hope is snatched away from her.
The directorial flair that had made 'Ee Adutha Kalathu' one of the best films that we had seen last year further finds expression in 'Left Right Left'. In a spectacular move, Arun Kumar Aravind lands the audience in a blackout at the most crucial moment in this genre twisting film, depriving them of an emotional release, and the restlessness that accompanies it has to be experienced, since no description would do justice to it.
It's refreshing to see that 'Left Right Left' keeps those banalities that one normally associates with a political film at bay. This is on account of the fact that it's a film that intricately dissects the political scenario of a state, never for a moment losing its focus on the tales of human struggle that lie almost concealed behind it. And this makes it a film that is as much about the individual as it is about the state.
Murali Gopy is a man I'm tremendously impressed with, and he seems to be getting better with each film of his. It's almost impossible to conclude if it's Murali the actor, or Murali the writer who bowled me over in 'Left Right Left'. Perhaps the grittiness in his razor sharp words that slice through your thoughts as a knife through a slab of cheese, prompts me to hand over the honor of the day to Murali, the writer. But the meticulousness with which he brings to Roy to life is too painstaking to be left ignored, and his remarkable performance lands the actor in him just a notch behind the writer.
Equally striking is Indrajith in the role of the vagrant cop who is taken for a royal ride before being thrown into the puddles of life. Hareesh Peradi is imposing as Sahadevan and without the flex of a muscle flouts menace straight out of his flaring eyes or his clenched jaw. Lena hurls another shocker at us, with her blast of a performance as Anitha, while Remya Nambeesan affirms yet again that she has an immense potential to deliver the goods. But the real rock star of 'Left Right Left' is none other than Sethulakshmi, whose whopper feat could only perhaps be acknowledged by a long, standing applause.
Shehnad Jalal, the man behind the camera keeps the gimmicks to the minimum, and instead with his invigorating frames slings the dirt, sweat and blood straight across our faces. Gopi Sunder's enchanting musical score is remarkably put to use, skillfully adding to the coherence of the narrative.
'Left Right Left' has a rare, melancholic poetic power that is magical in more ways than one. It invites the audience to delve deep beneath the rugged, craggy portrait of the society that we live in. A glorious tale on perseverance, struggles and survival, 'Left Right Left' enters the pantheon of must-see movies with grace.
Up & Down - Mukalil Oralundu Review
Review.  (2.5 / 5) : Above Average |
Thampuran (Indrajith), the elevator operator at a posh apartment, runs into trouble when the lift on its way to the 24th floor of the building gets stuck midway with eight passengers in it. That one of the passengers is the City Commissioner of Police (Ganesh Kumar) adds to his woes.
A well renowned writer Edathil (Prathap Pothan) takes it lightly, and settles down to have a gulp of his favorite drink in a corner of the elevator. Shanku (Devaraman), a small boy keeps prodding Thamupran as to where his mother (Meghna Raj) has disappeared after having entrusted him with the lift operator the previous night.
Gradually, the film concerns itself with the mysterious lady who had disappeared into the night, as each of the characters are pulled in and out of her story, as recounted by Thampuran. And when a murder is found to have been committed, the shadow of suspicion falls on each of those trapped inside the elevator.
The basic premise very loosely reminds you of the Hollywood thriller Elevator (2012), but the similarities end there. The individual story lines that the script explores henceforth are drastically different, and the resemblances little.
The twists and the turns in the script are surprisingly engaging and there is barely a moment in 'Up and Down', where you feel detached. Well, that is if you let go of those antics by the lift mechanic (Kochu Preman) that do go a bit overboard after a while.
One also wonders why no one ever suggests to the Commissioner that the suspects could perhaps roam around outside the elevator as well. In an apartment building as huge as this, how is it that the lady of mystery got to interact precisely with those who got caught together in an elevator malfunction?! Well, as they say, no questions need to be asked in some stories.
But even then the running time of the film (less than one twenty minutes) comes to its rescue, and it's all over neat and tidy in about two hours time. It doesn't brag on an on needlessly, nor does it keep you fidgeting in your seats like some whodunits do!
Performances are all good, be it that of Meghna or Indrajith, who seem to be playing the most important of roles, or that of Prathap Pothan who delivers the quirky writer role with aplomb. Remya Nambeesan is right there on top, when it comes to list of performers, and so is Nandu, Sruthi Menon, Ganesh Kumar and Baiju.
Prasanth Murali's background score wordlessly works a magic, and retains the intrigue to the hilt. Efficient cinematography by Jomon T Thomas and some real crispy editing by Ajith Kumar add up further to the appeal of the film.
Ironically, though it remains grounded and stuck at a few points, just as the elevator in it is, 'Up and Down' eventually turns out to be an appealing film. It does wander a bit away towards the final act but if you let that go, it's a twisty-turny mystery piece that could entertain you without fail.
Subscribe to:
Posts (Atom)