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Review: Classmates

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In the teaser scene of the movie you see Sukumaran (Prithviraj) chasing Sateeshan (Jayasurya) along the campus. Finally Sukumaran catches him and beats him to pulp. Someone throws him a hockey stick and as he is about to kill Sateeshan, someone shouts that their friend Murali (Sunil) is found dead in the generator room. Suku wakes up from his dream and gets ready to go back to Kerala from Mumbai for a reunion among those classmates.

The reunion of the 1991 Chemistry batch was organized by Prof. Iyer (Balachandra Menon) and his wife (Sobha Mohan) in memory of their son Murali. The plan was to have a get together in the evening, recollect memories, stay in the hostel for the night and leave in the morning. Besides Sukumaran who is now a diamond merchant the other people who arrive are Sateeshan, who is an MLA, Pius (Indrajith), who is now in Gulf, Thara Kurup (Kavya Madhavan) who is a professional dancer and Raziya (Radhika).

As they arrive one by one, both Thara and Sateeshan give a hostile looks to Sukumaran and you know something is not right. His only friend is Pius, but since his daughter was sick, Pius leaves to see a doctor at night at the insistence of Thara. As Suku is drunk and lying in the hostel room at night, Prof. Iyer comes to meet him and talk about Murali and his guitar which Iyer kept in another room. That night when Pius returns he finds Suku is strangled by the guitar string and police comes to investigate.

Suku was not dead and he is moved to the ICU. The police meanwhile find his diary in which he had written that he wanted to end his life, but before that he wanted to go back to his past one last time. Iyer does not believe that it is suicide. He walks along with Pius and tells that to understand the present, we have to go back into the past. The movie then flash backs to 1991.

The college life of that era was a time of strikes, a time of romance, a time of political fights and the time of love letters hidden in books. Suku is the leader of SFK and Sateeshan that of DSU and they have their tiffs. Suku also has an ongoing feud with Thara ever since she refused to leave class following a strike call issued by him. They play pranks on each other and finally it turns out that they both are madly in love with each other.

To disrupt this, Sateeshan influences Thara’s father, a big shot in DSU and makes her a candidate in the elections. She disregards Suku’s warnings which irritates him. Murali meanwhile is the favorite of everyone as he is a singer and non political. Pius is the local kamadevan trying to flirt with everyone in the campus including Raziya who is called Penguin because of her purdah. Sateeshan plays dirty in the elections, steals a love letter written by Thara to Suku and deposits it in the ballot box.

Thara and Suku fall apart. Then Murali’s death happens and a disgusted Suku stops his education and leaves. Iyer then goes through more details with Pius and slowly he pieces the story of the last 15 years. In this process he learns how his son died. He also learns who attacked Suku. This unfolding of events forms the story of Classmates.

There are two aspects which made this movie very interesting to watch. The first one is the nostalgia it creates for the campus life. We studied in a college which is exactly same as the college shown in this movie. We had friends who were like Suku, Sateeshan and Thara. Writer James Albert has made that era very lively and realistic. In one of the scenes one of the guys mentions that he was in love with a girl for almost two years and another one asks, “Does she know it”. We had a friend who fits this silent lover to the t.

The second aspect is the very interesting way of narration. Initially a set of sequences are shown, both in the past and present. Then as Iyer learns more and more, the gaps left in both past and present and filled one by one leading to the identity of the killer and attempted killer. Also in this layered narration, a hidden story of relationship is also revealed which was very interesting. Due to this, characters who remained in the background in the first pass get more prominence in the second around. The same scenes are shown again and you get to see the new angle. Due to this style of story telling, even after the movie was over, we were re sequencing the story in our head. This was clever writing.

The movie was funny. Any college movie should have pranks and the ones between Suku and Thara where he swaps her dance song for a Rajnikanth song and kidnaps her from the hostel while she is sleeping had us laughing. In another scene, Murali is asked by SFK guys to sing their revolutionary song for campaign. As he is singing, he is lifted by the DSU guys and forced to sing a different son. Then the SFK guys chase him and he starts singing both songs.

The movie had strong emotions too. The point where the relationship between Thara and Suku turn from hostility to love was refreshingly done. Similarly the hostility between Suku and Sateeshan build up over small incidents resulting in frequent fights and finally it reaches the climax with the ultimate prank that Sateshan plays which destroys Suku’s life completely. The drama here and the tension between the characters make for compelling viewing.

Besides writing such a layered story, dialogue by James Albert is non cliched as well. When Suku asks Thara not to stand for elections, she simply asks him to marry her immediately so that she does not have to listen to her father anymore. When they are locked up in the Chemistry lab, both Suku and Thara talk about their love for each other, mostly in third person which was interesting. When you have so many characters giving each one of them time is not easy, but James Albert has done justice to all the characters.

The movie is not without its drawbacks also. There is a scene where police enters the campus and beats all students including girls. We studied in a college where this was a regular feature and not once have we seen police beating girls. Also in this movie, lot of events happen because one person overhears what he is not supposed to. Thus we see Sateeshan overhearing the conversation between Thara and Suku, Sateeshan’s friend overhearing a conversation between Pius and Suku about Thara’s love letter and finally the person who attacked Suku overhearing something incriminating. This overhearing in fact forms the pillar of the movie and was overused.

Prithviraj did an excellent job as Suku. As we saw in Vargam, playing arrogant head strong characters is his forte. But in this movie he gets to be a romantic as well as a devastated helpless man. The other revelation is Indrajith. There is one scene where he grabs the letter Thara wrote to Suku and reads it out while Suku tries to grab it. His body language and the way he does it was really funny. Though we are not big fans of Jayasurya after seeing terrible movies like Immini Nalloral and Pulival Kalyanam, we were impressed with his role as Sateeshan. He can make a good villain. One versatile actor is Sunil, who morphs like a chameleon into each of the characters he is playing whether it is the rowdy in Chittiram Pesuthadi, or Police Officer in Four the People. In this film too he plays the musician’s role with ease. Among the actresses Kavya as usual has done her role very well. Radhika who played the role of Rasiya got some excellent scenes.

The music of the movie too deserves mention. Alex Paul and Vayalar Sharat Chandra Varma’s songs re-create the spirit of the campus with very memorable songs. Our favorite is Ente Khalbile. Technically too this film stands out with the use of steady cams to get us into the middle of the action. Director Lal Jose has impressed us with movies like Meesha Madhavan, Chanthupottu, and Achanurangatha Veedu. Once again he has impressed us with this well made movie.

73 Comments

  1. Raphel you don’t have to get cross with me. I am not the advocate of super stardom. I sincerely wish the silver screen be filled with fresh blood. But I cannot turn a blind eye on story lifting. I shared with you all what I had found and you found my efforts hilarious. Ok let it be like that. Judge my findings with the substance I offer. Do not turn a bind eye presuming I an flanking super stars.

    What we people who love the silverscreen can do? We can only express our ideas, dreams and frustrations through a blog like this. We cannot brainstorm the film world as a whole.

    Superstars are the boon and curse of the film world.

    The noteable comments are of Mammootty.” Harrison Ford got better roles after 50.” He hope he should also get the same since he is in his middle 50’s. His wish is ok. But look at the nauseating roles he performed recently. It is high time he be selective. Another comment. Recently one press guy compared him as the “Bachan of Malayalam” at which an enraged Mammoootty retorted “Bachan is the father role actor in Hindi but Mammootty is still acting as son.” What is he implying? Is he trying to become another MGR or NTR. Pairing himself with actresses 1/3 of his age, wearing outfits so loud. Mammootty should stop this. I personally heard one of the audiences who got so bored loudly remarking in the dark “Mammootty became this dirty after he married off his daughter”.

    Mohanlal who keeps his moustache down also cannot deliver nothing new. He also plays bachelor roles searching for love. But we all should appreciate the brave efforts he try to enrich the movie by producing movies like “Vaanaprastham.”

    Another comment made by Jayaram is noteable. In a recent performance in MM Channel Jayaram remarked superstars are blocking the dates of talented writers so no other actor would get the chance to act in their script for some years. All these are unhealthy practices which will eventually destroy the movie industry.

    Jagathy recently remarked about the hefty remuneration bagged by the superstars. He commented it is like digging the earth under one’s feet.

    Dileep is another one. Look at DON and Chakkaramuthu. But I congratulate him in producing “Kathaavasheshan”- a fine movie. And Suresh Gopi still yells and rages. But he played cameo good in Notebook.

    And the young blood Pritvi. I have seen lots of his interviews in nearly all of which he comments about his Australian studies. Australia is not on the moon dear man. But he is improving. In a recent Students only program anchored by Sankarankutty one female student asked sankarankutty seriously “what is the difference between a man and a woman?” A leering S.kutty began to explain the physical difference of a man and a woman. I was tempted to crush this anchor. At that time Pritvi intervened and gestured him to refrain from further explanation. And this anchor kept on grinning from ear to ear. It was so timely. Other artists were present on the stage but only pritvi had the presence of mind to prevent S.kutty.

    I pointed out the story lifting since I felt it so and it is true. It is up to you guys to like it or not. But please do not shove my effort aside presuming I support a certain class of actors.

  2. Suit against “Classmates” crew filed by suhaaib for copyright violations taken in file by the District Court, Kottayam. Judge ordered urgent notices to be sent to the script writer, director and producer of the film to submit reason for not banning the film’s exhibition, dubbing and remake.

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  5. I was reading all the comments on plagiarism and copying. Earlier in another section, I also saw someone trying to relate ‘Vadakkumnathan’ to ‘The Beautiful Mind’. That is I would say really unfortunate. In Beautiful Mind, the middle aged (later old) professor is shown as having a mental disorder right from his younger days where he would see/imagine/live ficticious moments in his life with non-existent characters, who lived only in his imagination. He cannot distinguish these moments from the ones that happens in real life. That is far away from a bi-polar disorder where a person can have good and bad tempers at random which they also explain as due to the over-burdening of brain from extensive thinking. Any kind of mental problem will have some common ground, say a person cannot behave normal. But relating the two and saying one is inspired by other is not fare in my opinion. In that case we can also say ‘thanmatra’ is inspired from the same ‘beautiful mind’ where they discuss the sexual issues faced by such people with their spouses. The point I was trying to make here is that, at the end of the day, human stories cannot be completely different and it is impossible for any writer/actor/director never to get inspired from anything that he sees around or reads. When a major chunk of the story is lifted from somewhere or at the worst copied scene by scene, should we think of plagiarism or copying.

  6. Lakshmi the part concerning Murali and Rasiya is lifted from the movie “friends”(please refer my post which I made earlier). Anyone who have seen that Siddiq authored-directed movie will give a perfect nod on that. Re the story concerning the hero and heroine(pritvi and kavya) it is also lifted. Somewhere in this blog I read that the story gist was something like “the reunion of the former students in an alumni meet and the resolving of old scores which existed between the protagonists at the time of their study, during the alumni meet.” This is all we know from this blog and it underlines the fact the work is copied if the story gist of the writer runs along-with the description stated above. There is no second thoughts on that. The aim of both works is the same but different ways might have been used to attain the target. We do not know anything more on that particular shortstory but we do have the film “Friends” with us.

    Well it is cannot be approved when one state “Vadakkumnathan” is a copy of “beautiful mind” since there are lots of factors which separate the two. But it is not an example of copy but can be said it might be inspired.

    Ken kesey’s ‘one flew over the cuckoos nest” has resemblences with “Thalavattom”. If you go through that novel you can see there are lots of differences. But the creator of Thalavattom gave adequate changes to the story.The same case applied to the “Almighty” by Irving Wallace. Other cases are “Love story” of Eric Segal-Madanotsavam(the first cancer film of malayalam-kamalhaasan, sareena wahaab starred one rich with melodious songs), Eric segal’s man, woman and child-Olangal(Amol palekkar, poornima, ambika starred movie).

    Blessy stated Thanmaathra was inspired on Padmaraajan’s short story. It helps a lot. Even MT stated “Utharam” was inspired on drama. If famous directors and writers can express such courtesies why the upcoming one’s can’t follow their path. may be they badly deserve a square meal reserving evrything to themselves.

    I have seen the interview of the writer “Perumbadavom Sreedharan” wherein he stated he will not allow any film maker to take a “thread” from his works. Yes he mocked the term “Thread”.Yes it is the “thread” works which destroys many writer’s dreams.

    Please see the satyan starred old movie “Vaazhve Maayam” or read the novel by Ayyaneth. Hero suspects his wife who is visited by an obscure person and he catches him and assaults him later to find that that particular person had been his wife’s extremist party leaer brother. You can see the same thing happening in “Chithram”-the priyan movie wherein Lal accidentally kills lizy during the fight with ganeshan. Both are same.

    See the pathetic situation of Madhu Muttom who authored Manichithrathaazhu. His work bagged crores but the poor guy got 30k for his 3 year hardtoil. Is this the way to treat a writer? Likewhat in marketing customer is the king, in film industry story is the king and you pay almost nil for a beautiful one. High time there should be someone to raise voice against this. The two M’s bags 50+ lakhs and the writer gets peanuts for his hardtoil. If the producer is reluctant to pay at first let him give a percentage of the film’s profit to the poor writer who struggles and slaves hard. Good writers should be recognised and paid well. See the fire which is on when the news broke that MT is penning for Pazhassi Raja and another female oriented movie to be acted by Meera Jasmine. The crowd realizes good ones. Yes the bottom line is always the same “Story is the superstar of a movie”.

  7. No sajeev, I am not saying that there is no plagiarism going around. there are umpteen examples of them. The other day I watched udayananu tharam. that whole plot of making hero work without his knowledge is ditto copied from, I guess, ‘Bowfinger’ where mohanlal’s role is played by steve martin in the original. sometimes u really get disappointed & irritated when u feel u know every next scene that is going to come. The worst ever happened with me was for the hindi movie ‘Black’. Unfortunately i watched the original Hellen Keller movie on the previous weekend. They mentioned in the movie that it is inspired from hellen keller’s life. But director did a lot more than merely getting inspired.

    the facts mentioned about the movie ‘classmates’, i don’t know, because i have neither watched the movie ‘friends’ nor read those books. all i meant in my earlier post was that human stories can be similar many times. but the way it is picturised can be different because no two persons’ lives are exactly same any day though similar issues may happen with them.

    yeah, the whole thing u mentioned about Madhu Muttom is really unfortunate. I guess it is high time our movie industry should have clearer rules regarding a lot of issues. may be they can always mention the books/movies they have referred and strictly avoid scene by scene copying, unless it is a remake. whether these are done or not, what must be done definitely is the remunerations for other artistes, which should be made more professional.

  8. Recently actor-script writer sreenivasan commented “Malayalam film industry is in the hands of some businessmen”. Apart from jagathy he only has the mettle to say such things.

    These business people will do anything to attain their goal. They do not have any morality,respect to fellow men and self-respect. Talented actors also go hand-in-hand with them mouthing the slogan “make hay while the sun shines”.

    Earlier there were famous banners like udaya, manjilas, evershine, casino, geo, central, century, jubilee, jagan and so on. These esteemed banners produced quality films. Eventually business people learned the economics of the movie business and they entered the stage. They were only interested to finance movies which were stereotypes of some previous successful films. And this gave birth to formula films. Sizzling opening, fight at this part, song at this part,comedy at this part, enter a new face at this part and so on. All these were designed to relax the viewers. Save them from boredom. After the 14 reels gets finished and when the lights are on the viewer remarks.”Kollaam, adipoli,vedikkettu,kalakky”. But dear man, what is the story of the film? Oh that, who cares about story man. I enjoyed the ride. Sort of roller-coaster.

    Seen “Maayaavi”. What is the story? But the film bagged more than 4 crores from 41 release centres within 2 weeks. Thanks part to the cd piracy raid.May be this film will be remaked too. Most may ask what is wrong with that film. Yes the wrong such films do is it deteriorates your sense of appraisal. It makes you clap for derrogatory performances. Many are singing “muttathe mulle”. Good song. But how many think it is an imitation of “Thingalkkalaye sollitharava en pattu” of mammootty starred “black”.It is true that song is also tuned by Alex Paul. After 5 minutes of watching that movie it fades out of your mind. Will mammootty be remembered of his performance in such a movie?

    “Rasathanthram” is the worst film sathyan anthikkadu has ever made. But it was a success. May be sathyan himself might have been shocked at its success. Meera jasmine in the disguise of a lad and mohanlal playing romeo. GOD! What are we witnessing. Satyan made his debut as a writer and it showed loud in the film. Well sathyan could not get sreenivasan pen the film. Even Ranjan pramod openly stated he cannot don the outfit of writer since he wants to direct. And he directed-“PHOTOGRAPHER” which sank without a trace. Lohitadas also said he wish to write and direct. See his “chakkaramuthu”. So if satyan wanted to direct a movie he has to write it too. So he wrote it. Sibi Malayil who do not have writing skills went out of the court. He had directed too many splendid films in the script of Lohitadas. Sreenivasan commented in the future there will be market for combinations alone(written and directed by….).Lohitadas in one interview commented writing is a painful process. His temples would bulge out at the effort and his doctor advised not to exert himself too much. So he might have decided direction might be an easy job and he too became a ‘combination’ drawing writer-director’s remuneration.The result we know. Dear lohi-you are a good writer-your characters has the warmth of life-but as a director you are a failure. Priyadarshan who penned for many movies stated there was none to write for him when he became a director. He wrote for many and there were none to write for him. Even an assistant or associate director of one movie is taking a sudden leap by becoming a director in no time. And the above stated conversions are pure failures. I am not saying all but it would come to more than 75%.

    I doubt the master crafter padmaraajan was a better writer than a director. His earlier works associated with Bharathan, Sasi were better to watch than the ones he directed.

    The bottom line is “Writing is a writer’s job” and “direction is the job of a director”.

    Why these talents are tresspassing some other’s property? It happens so since the writer is not given proper consideration. In a screenplay which ranges to 70+ scenes the writer details everything
    sometimes the camera angles itself. Still he is badly considered in terms of remuneration and publicity. If a solution is brought about our films will better.

    My solution is this. Let the writer be given a percentage of the total net profit of a film. It will help very much and it might prevent further tresspassing.

    I humbly pray in future there be no martyrs like madhu muttom. High time the writers unite and raise their voices.

    GOOD LUCK.

  9. There must be a writer’s guild or some independent body to copyright scripts or even treatments. Remember India has always been pulling its legs from signing international intellectual property protection rights (I forgot the UN document name). Now it is biting back on us, depriving people like Madhu Mutton his legal right while helping those fake pharmaceutical companies in Bombay to copy drugs, Bollywood and Priyadarsan (might I say) plagiarizing anything that is worth a cent.

  10. Lack of proper attitude and approach is visible in many aspects of our society today, whether it is politics, education, science or work ethics. To add to that everything is fast-paced and faces unhealthy competition. There is no time or mind for a check. So how can movie industry alone be different?

  11. rasathantram, vadakkumnathan and rajamanickyam, are some of the worst movies made in malayalam recently. ended up watching them thinking of the cast, director, story and the news that they were hit. there was practically nothing worth watching in any of them. hardly any story. the only new theme seen in malayalam movies today is extra dose of tamil dialogues without fail in most movies. dunno how we sat through the whole movie each time.

  12. Lakshmi,
    “Lack of attitude” you mentioned is so true. In the past it would be inconceivable to print articles with grammatical mistakes in main stream Malayalam newspapers but now I wonder if anybody really cares.

    Historically movie industry has always been a different place, lots of unrealistic people with questionable talents get in to make a fast buck. I am told the man who produced/directed the first malayalam film “Balan”, was not an artist but a business man!

  13. hi everyone,
    i just wanted to ask u for a feedback on Aravindan films.All say that he was a great director.I have seen his 2 or 3 films.i never felt that he was such a great director.It really felt to me that those films were somewhat a gimmick.The films like kanjanaseetha,Pokkuveyil,Thampu etc were in such slow pace and i really wonder if he had some message in them.
    No, i dont want to tell that i dont like slow pace or such parallel movies.I have seen good movies of people like Adoor,K.G.George,T.V.Chandran etc and i have loved them.But Aravindan films have never touched me so much.(may be one exception was his last film ‘Vasthuhara’.).
    So plz add ur comments.

  14. If the producer/director of the first malayalam movie ‘balan’ was a person what we would say as ‘sahridayan’ in malayalam I wouldn’t protest. If he had genuine passion, though he was a buisness personnel, it is great. But if all that he wanted was quick bucks out of it, then he is another example of the man of modern times.

  15. Visakh,
    I love Arvanidan’s film and have seen almost all of his films except recent ones. I agree that his pace at times is annoyingly slow. Then I tried understanding the reasons for setting pace in a movie using such devices as cuts, camera angles, and sequence (series of shots) which are inherently used for unfolding drama. Drama is basically a reaction to internal and external conflicts of characters. Aravindan’s films like his cartoon characters are inward looking, so the dram inherently is personal and private (Uttharayanam, Pokkuveyil etc). Aravnidan’s way of visualizing emotional private conflict is slowing down the pace and giving enough time for audience to understand the mind of the protagonist given his interaction with his surroundings. Some directory would have done it differently but the visual intensity at which he tells a story would have lost and if you increase the pace in some cases there is no story at all.

    I found an interesting parallel in classics such as “War and Peace” or Shakespeare or Kalidasan’s (translated); there set up (establishing characters and their environment) is too long to the point of boring but we must endure it to get a full appreciation of the story.

    Aravindan has his fallacies too. One example I can remember is in “Utharayanam” where towards the end of the film the protagonists sits across from an old woman by a fire place and burns masks after makes that he was carrying in his bag. This is such an obvious cliché, audience by then had understood the character very well that such scenes question basic intelligence of the audience.

    I hope I didn’t sound like a “kalla budhi jeevi”.

  16. Visakh,
    You got a buddy on your view on Aravindan movies. I have seen some of them. Personally I do not like them. Like you me too liked “vaasthuhaara”. The story wrote by C.V Sreeraaman was superb that any talented directed could have made that movie. I think the story speaks in that film. It overtaked the director.

    Shot time=life time, no bg, pregnant pauses, occasional dialogues and a nauseating ending. That is the idea of a typical art film. I think it is thse factors which marks the demarcation line between a commercial movie and an art film.

    Personally I like the works of TV Chandran. His Kathaavasheshan is a brilliant movie. Whether it be a professional, prostitute, musician, farmer-TV Chandran’s characters has got the warmth of life. He should be well recognised. I rate him more than Adoor. Personally I did not liked hsi “Elipathaayam”. The idea is good. But the way he picturised it-I did not liked it.But it is considered a classic. Same thing with the ovel by thakazhi-KAYAR. It is a classic. But till date I can’t flip the 51st page of that mammoth novel. May be I do not have filmy-literary tastes.

    Only recently I watched the movie “Mr&mrs iyer’ by Aparna Sen. A sheer delight. A virtual bliss. But in which genre such movies fall? Art or commercial. It was not collected well I think. Like Kathavaseshan it was not well considered. No distributor would dare to touch such movies. Paulie-a western movie which speaks about the bondage between a parrot and a kid. The iranian movie-Children of heaven-Again in which genre these films fall.

    There is no art and commercial film non-sense. There are ony two types of movies. Good and bad ones.

  17. i like to thank anil and sree for their responses
    .Iam also delighted to see that u people watch these films.And moreover u understand and interpret them well.
    tnx once again

  18. lal jose sir had donne a very good job.i appretiate all the artists, director and others who worked behind this film.i just go through all the comments you have recieved.some are comparing the director as how vishakh is
    doing.anyway classmates is very good film.

    thankyou,
    frm Ruksana

  19. i jus read all those posts about plagiarism and stuff an i do agree that there have been cases of balatant copying movies lifted word by word scene by scene but i don think classmates belongd to this category.well i agree parts of it like the prithvi-kavya affair,murali dying does seem familiar but that is only in retrospect not while watching the movie.mr.lal jose could keep us sit thru th movie really enjoy it and come back for more.in my opinion talented people like him should be encouraged much more.

  20. i can’t understand y u all r arguing over things that have already happened.what u started with has ended at a different point.i could see that all of u liked classmates but you also have reasons to oppose.but hey it was a gud movie and everybody enjoyed it.it was not just prithvi’s success but the success of the whole crew.we should feel happy that today’s young actors are really doing their level best to give a good cinema which could make people think,not about the actor or the director his story etc but about life and how a movie can often be related to ur life.if u cry the hero or the heroine on the screen ,then there lies the success of the movie.make the audience take in the character in their lives.commercial success is not a big thing.if a movie could change a person’s point of view of life then y can’t u accept it as a good movie.

  21. The movie is very good. I liked the twists in the movie.I think comedy should have been more. Excellent direction and unique screenplay. These days screen plays of different movies is same. But, this movie has a new one. I want to appreciate the director and writer. Mind Blowing

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  23. How can one get the office key of the college principal from the pocket of a police constable? It is shown in the movie sukumaran and pios sedating the constable to get the office key. And sukumaran, who is a hosteller, comes to know about the death of Murali from BBC, during his fight with Satheeshan. He should know it in the first place. These are the factors which annoyed me after watching this movie.

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