A story that could have struck gold a couple of decades back, Mammootty in a role that does justice neither to him nor to the hundreds of thousands of his admirers all over the world and slipshod film making that is all over the place – Ramesh Pisharody’s ‘Gana Gandharvan’ is best summed up in these three terse statements.
Despite all the flamboyant oratory that most of the characters abundantly indulge in, ‘Pathinettam Padi’ offers you an ascendant climb that is draining to the core. And what’s most disappointing is that there is nothing much awaiting you right on top, out there at the end of the strenuous climb.
Khalid Rahman’s ‘Unda’ is intelligent film making, and the ideological vantage point that it roots for, is one that has its fingers directed at the political scenario of one of the biggest democracies in the world. Never for a moment pretending to be erudite, ‘Unda’ is loaded with terrific insights that are fired away in quick succession, rendering it one of the most thought provoking Malayalam films in recent times.
Mass, double mass, and triple mass; all said and done, the final scene of ‘Madhura Raja’ is all suggestive – that ‘Minister Raja’ will follow. So much has happened and the next time, I tell an exhausted self – you should probably think of taking down notes.
There is without doubt tremendous cinematic material in the momentous life that YSR lived, but this film has none of the masterful strokes or moments that it demands.
Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
Sethu’s film like many of its predecessors, is one that is obsessed with the charisma of its leading star, that everything else, including the plot and the narrative are tossed into the Kuttanadan backwaters.
It’s quite a recognizable mystery franchise that ‘Abrahaminte Santhathikal’ lays out before you. And it’s this throwback familiarity that holds it back throughout, even as it tries hard to fit in every known thriller trope into its folds.
There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.
‘Parole’ is a film that hardly has anything original or memorable about it. Trying hard to cash in on an actor’s stardom, it throws in liberal doses of political and familial sentiments hoping to workup the goose bumps, none of which serves any purpose.
Shamdat decides to go for a partly experimental account in ‘Street Lights’, but gets stuck with mostly one-dimensional characters in underdeveloped situations. With an add-on climax that goes on a few minutes even after all the action has come to a close, ‘Street Lights’ seems and sounds a bit too contrived to be real.