Arun directs his experienced and gifted cast quite sensitively, and rewards us with one of the most emotionally charged films of the year. This is also the reason why ‘Finals’ turns out to be my personal pick from the festival releases this year – a film that skillfully blends a heartbreaking tale with impeccable performances and some genuine, ingenious directorial vision.
‘Aanakkallan’ is a disappointment of colossal proportions that makes you want to reach out to Biju Menon and point out that he needs to take a breather. One long look at the kind of choices that he has made of late, and he should sense that it’s time for him to perhaps take it a bit slow, lest the crowd enthusiasm in his films drops down like a stone tossed from the top of a hill.
Fellini’s take on a man wanting to take a final puff and chuck away a long-standing addiction is akin to the first smoke ever; drawing in a bit too much of a cloudy breath and holding it all in for a moment before the anticipated onset of the dreaded cough, throwing out a whole lot than one had bargained for, in spurts and spasms. And when peace is finally regained, the smoke or what is left of it, slowly dissipates into the air 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!
‘Aabhaasam’ is a scathing lampoon on the disgruntlement – social, political, religious and sexual – that underlies a literate society, and is a daring overnight drive to where we stand today. It holds fast to none of the conventionalities that one would expect of a commercial pot-boiler and truly living up to its title tosses cinematic decorum right into the drains.
‘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.
‘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.
The incidental pleasures that Dileesh Pothan’s film ‘Thondimuthalum Driksakshiyum’ offers are many, like the sardonic wisecracks and the continual cackles, while it fundamentally holds an indelible charm inside. A luminously acted rumination on the ifs and buts of life, ‘Thondimuthalum Driksakshiyum’ has enough emotional and dramatic drive to let it qualify as a class act with exceptional intelligence and grace.
‘Aby’ is a film that does display tremendous visual craft, and the style is inarguably there. However, beneath all that panache, is a lumbering tale that runs a time-honored route with its wheels falling off along the way.
One gets to see a meadow full of blue spring blooms, as the curtains are raised in Srikant Murali’s ‘Aby’, and a boy runs across it, finally driving a dragonfly, perched on a small flower, onto a flight. As the tiny insect takes to the air, the boy looks at it wonder eyed, spreading his arms sideways and fluttering them as if they were wings. Continue reading “Aby (2017) Malayalam Movie Review by Veeyen”
Srikant Murali’s directorial debut ‘Aby’ that stars Vineeth Sreenivasan in the title role is all set to grace the screens this week. The film based on a story by Santhosh Echikkanam, talks of a boy’s intense desire to fly. Continue reading “Aby: Those Dreams that will Fly this Week!”