What actually works against Afsal Abdul Latheef’s ‘Pathrosinte Padappukal’ is its quirky trailer that had scaled up the expectations regarding the film to the skies. But on screen, the film hardly lives up to the hype, and turns out to be a prolonged series of jokes and one liners – some of which work, and some of which don’t – sans a solid tale to sprinkle them in.
What actually works against Afsal Abdul Latheef’s ‘Pathrosinte Padappukal’ is its quirky trailer that had scaled up the expectations regarding the film to the skies. But on screen, the film hardly lives up to the hype, and turns out to be a prolonged series of jokes and one liners – some of which work, and some of which don’t – sans a solid tale to sprinkle them in.
Pathrose (James Eliya) isn’t distraught at the way his three sons are headed, with two of them – Sony (Sharaf U Dheen) and Boney (Naslen Gafoor) having ambled past the stop signs to doom already and the third one Tony (Dinoy Paulose) slowly, but surely making his way there. When the devastating realization that he needs to work to live strikes Tony, he tries his hand at a job or two with disappointing results.
The best moments in ‘Pathrosinte Padappukal’ are courtesy Sony, and the jollity that he brings in is what makes the film appear a breezy affair, though ever so intermittently. Sony does appear a spoof on Charlie, but in a good humored way, and has (almost) liberated himself from the bonds that had tied him down at Cochin.
When thrown out of the house, he sets up camp on the front yard or is seen on the beach planning for a Ghazal night with a few fellow Hippie musicians when he is not traversing the length and breadth of the country, picking wild flowers and playing therapeutic music. He is not the sort who lives in yesterdays and finds a life-cum-travel partner in Christeena (Grace Antony), a bohemian who in turn takes an instant liking towards him.
Barring these two, the rest of the characters in ‘Pathrosinte Padappukal’ merely add to the chaos of the piece, and even Tony, the protagonist is no exception. There is a lot that is happening in his life, including his falling in love with Ammu (Ranjita Menon) with whom his best friend Arun is also in love, but nothing so happening that it will shake you up in amusement.
There is a plain tedious sub track that involves a don – Sathya (Suresh Krishna) – that runs parallel and which tests your nerves. It is downright unwitty, and offers you little in the way of laughs or depth. These are instances that on the contrary make you feel that this film should have been much better than it is without this tedious track running on.
Dinoy’s writing lacks the crispness that made ‘Thanneer Mathan Dinangal’ so relatable, and instead feels all over the place in ‘Pathrosinte Padappukal’. He does play it fair again as a writer and hands over the meatiest role to Sharaf U Dheen, while he himself dabbles with playing Tony – the lover boy with not much of a life.
The love track in ‘Pathrosinte Padappukal’ that is essentially the ground on which the rest of the movie should have been built on, is wobbly. This is also what ruins the movie, because the rest of it serves as mere adjuncts to this vital element. With the epicenter of the film swaying this way and that, it doesn’t take long for it to come toppling down.
It ends quite miserably as well, and the climax is a let down that tops all the non-happenings that preceded it. Stretched beyond belief, the finale hits the final nail into the film’s coffin, and makes you take note of all the comic talent in the film that had gone to waste.
‘Pathrosinte Padappukal’ does make you crave for something – a few more films of this actor named Sharaf U Deen, who is getting better with each film. An immense sense of comic timing, remarkable flexibility and an instinctive sense of humor that translates well through his slack body language – the instantly likable vagabond Sony is whom ‘Pathrosinte Padappukal’ would be remembered for.
Verdict: Average