‘Odiyan’ is a film that needs to be analysed for what it was to be, and what it actually turned out to be. It’s a film that lets a captivating folklore wash effortlessly down a drain, its magic mercilessly muddled by the murk and mud around.
In a world that is often hostile to diversity, ‘Njan Marykutty’ brightly lights up a beacon of optimism. And in a world that has long revelled in gender jokes and gay innuendos, it all might sound a fairy tale, but then its significance lies in the suggestive reminder that it puts forth, that perhaps it’s time the transuniverse had their share of fairies as well!
‘Kuttanadan Marpappa’ tries to make do with the done-to-death romantic tropes and ends up a much less assured version that it originally must have set out to be. The leaden comic touches do not much help either, and it isn’t a wonder that it ends up in the water, quite like many of its characters who literally do in the film.
‘Aana Alaralodalaral’ tries to make the best of what it has, but the sad thing is it doesn’t have much, and the little it has, has an outmoded air to it. The ultimate result of this trumpet that lasts for a couple of hours but which seems and sounds much longer, is nothing but mediocrity, and that too, stacks of it.