The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.
Prithviraj Sukumaran’s much awaited directorial debut ‘Lucifer’ is more than anything else, a blatant celebration of the star actor that Mohanlal is, and in laying out a feast that caters to the colossal stardom of its leading star, everything else, including inventiveness takes a back seat.
‘Ente Ummante Peru’ strikes you as a missed opportunity, with a handful of awesome performers lending their very best to a tale that does little justice to them. Despite all its earnestness it fails to connect with the viewers, and comes across as a detached, overwrought cinematic piece.
‘Oru Kuprasidha Payyan’ is undermined by quite a few problems and critically lacks the intrigue that could have made a difference. Its overwhelming generic obviousness makes it a slow sinking ship that tugs down along with it a few genuine, terrific performances as well.
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.
It’s a totally incoherent and embroidered universe that ‘Abhiyude Kadha Anuvinteyum’ lets its characters roam about it in. Shamelessly sentimental and cringingly syrupy, here is a film that misses its mark by a mile.
Kamal’s ‘Aami’ falls short of the requisites of an elegant biopic by a mile, and plays along like an unimaginatively scripted radio show, never really drawing you in, and never really letting you leave either. There is little of that captivating life that had enamored us here, or even less of the angst and authenticity of the woman who had chosen to live and love on her own inimitable terms.
In ‘Mayanadhi, director Aashiq Abu, armed with a dexterously penned screenplay, settles down to sensitively sketch a doomed tale of love. An impeccable reconstruction of an age-old narrative in an untested realistic setting, ‘Mayanadhi’ is the kind of film that holds a depth of meanings in those abstract gazes, a profundity of emotions in those unuttered words, and which leaves an inexplicable, seething sting at the upshot of it all.
It could only be a real zany mind that would have the nerve to start off his film the way Dominic Arun does, that within minutes has the audience dropping their jaws – either in amazement or in morbid fear of what’s in store for the next couple of hours. The effect is pretty much similar to what Terry Zwigoff accomplishes with ‘Bad Santa’, where he adeptly replaces the chubby, soft footed, white bearded old man that we have long been accustomed to, with a drunken, bad-ass, swearing champ, Billy Bob Thornton.
Basil Joseph’s tweaking of the sport movie recipe in ‘Godha’ works wonders and lifts it up straight on to a prized zone occupied by some of its triumphant predecessors. Strikingly directed and deftly written, ‘Godha’ steps up the rules of the game and wins the combat in a superb take-down.
‘Oru Mexican Aparatha’ swerves between brisk and blue with its inconsistency in tenor. Which is why when Paul finally stands tall having thrust that red flag in place, the emotions evoked are mixed – that of exhilaration but much more, of relief.
We have been through some real overwhelming films in Malayalam that have so dexterously captured the exalting spirit of the Communist ideology, and there have also been awe-inspiring movies on campus life that have since remained re-watch weekend treats to us. You cannot really blame me then for craving to grab a DVD of ‘Sarvakalashala’ and ‘Lal Salaam’ yet again, while watching Tom Immatti’s political campus flick ‘Oru Mexican Aparatha’. Continue reading “Oru Mexican Aparatha (2017) Malayalam Movie Review by Veeyen”