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.
‘Chanakya Thanthram’ lacks the writing to be a fantastic, edge-of-the-seat thriller. It simply goes about its job, and feels like many of its unproductive predecessors, but with a variant, pertinent note thrown into a messed up plot.
There is a final sewing up of the loose pieces that is expected to do the film good, but you are hardly concerned by then. The boat has already been missed, and the dock has been long closed.
‘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.
The feminist ideologies that ‘Raamante Eden Thottam’ puts to the fore accentuate that life for a woman lies further beyond the restrictive realms of a despondent marriage. There is a fierce sense of gravity that shrouds the smile on Malini’s face as she steadily walks towards the camera in the final scene; and it is probably this bright moment that would make us overlook all those detracting blotches that had marked her long journey.