‘Oruthee’ is not just a didactic tale of a victory over adversity, but rather an evocative and emotional journey of a woman who like thousands of others like her in the real world, steers steadfastly across hardships, uncertainty, emptiness and despair. It is an intricate theme that taps into a universally human condition and which even transcends across nation, gender and race.
At its start, ‘Pada’ does purport to be a story of the four men at the centre of action, but eventually widens up until it reveals itself to be an exemplary treatise on the displaced tribal populations across the world, who have fought injustice for years and continue to do so. As such, it is a much valued cinematic piece that advocates for a deeper consideration on our part and prompts us to come up with our own versions of the truth.
Pretty much similar to the unproductive climactic sequence that involves man and a shark and the ultimate finale that follows, ‘Pranaya Meenukalude Kadal’ tells a story that hardly transcends. With waves and waves of clichés lapping against its shores, this is a sea that appears as bland as it is blue.
‘Thottappan’ is a bittersweet film that appeals to you on several levels and yet leaves you wanting for more. The performances are outstanding and there are several moments that you would carry back home with you, but you would also wish that it had not stuck to the template that you have by now, grown so familiar with.
With ‘Ee.Ma.Yau’ Lijo Jose Pellissery surpasses himself, asserts once and for all that he’s a master craftsman who sees his dough even in a theme that is as stiff and unmalleable as a corpse (pun intended), and astutely crafts a chimerical ode to mortality. Hauling a perfect family portrait off the walls, Lijo smashes it on the floor, leaving us horrified beside a blue, lifeless body that grows colder by the minute, a bunch of riotous, bawling mourners and glimpses of nothing less than what looks like hell opening up above, as streaks of lightning intermittently part the dark skies.
Tinu Pappachan in ‘Swathanthryam Ardharathriyil’ seeks to craft an ultimate jailbreak film, and constructs a sweaty, scorching hell of a prison at Kottayam for the purpose. He then gets his inmates ready for the final getaway on a midnight express, and takes us along on their trail to escape, that has its fair share of moments and a few non-moments.
‘Aadu 2’ takes off not decidedly from where its former part had left off, since definitiveness certainly isn’t something that ‘Aadu Oru Bheekara Jeeviyanu’ could pride itself on. It’s a celebration of nothingness again, and through all the noise, clamour, hoots and wolf whistles, Paappan and his team vanish, perhaps to reappear a couple of years later, in another sequel.
‘Role Models’ neatly fritters away a talented cast and comes across as more galling than humorous. This is a missed opportunity for sure, and one that lacks any real spark or spur.
Opinions might vary regarding Tinu Suresh Desai’s Bollywood flick ‘Rustom’ that was loosely based on the Nanavati murder case. While critics remained quite mixed in their judgement of the film, ‘Rustom’ went on to become one of the blockbusters that Bollywood saw last year.
However, the 64th National Awards that were declared today, had a shocker in store with Akshay Kumar, the lead actor in ‘Rustom’ declared as the Best Actor. Akshay Kumar surprisingly leaves behind several other noteworthy performances, the most touted one being that of Malayalam actor Vinayakan in Rajeev Ravi’s ‘Kammattippadam’; a raw and delightfully coarse feat, that had fetched him the State Award for Best Actor. Continue reading “Vinayakan Out, ‘Rustom’ Akshay Kumar In: The National Bolt Award from the Blue!”