There are parallels between Ranjith, the script writer and the hero of his new movie Balachandran. Both of them lost their creativity – Ranjith with movies like Chandrolsavam and Prajapathi and Balachandran just unable to finish his novel. Some reviewers think it is a path breaking film and are impressed with the way the movie has turned out.
The film marks the reentry of a writer who had been on a digression mode for the last few years. It almost seems implausible that this sublime creation arises out of the same pen that cooked up a warped specimen as Prajapathi, that was clearly symptomatic of cerebral diarrhea. However, this time around, Renjith grabs the fake Malayali machismo by the neck, and slams it against the wall resolutely with a caricature that finds life in Lalitha (Neena Kurup) who drives around with her hubby behind her on the scooter, or curtly asks why she couldnâ€™t have a quick drink with her male companions.
Kaiyoppu cannot be denied the status of a path breaking film, in that it callously shreds apart the traditional milieu that has been choking Malayalam cinema almost to death. And in doing so, it never takes upon itself the role of the preacher, and rests content with the curt deliverance of a few messages that never ever insolently poke the viewer on the chest; yet slightly nudge to remind him as to what had gone amiss in his life and the world, while he was fast asleep. And as such, Kaiyoppu remains one of the most momentous cinematic signatures in recent times.
It is also to Ranjith’s credit that he makes a film which looks intensely personal in the first half relatively universal as it goes on. The pacing of the film is slow and might be criticised for appearing pretentious, but the peppy dialogues keep the momentum going.
Mammootty on his part looks the introverted struggling author. The way he carries himself brings out the feeling of him being both a spent force as well as a resurgent genius.
Mukesh plays a perfect foil to Mammootty’s character, with his enthusiasm and exuberance never going overboard. Kushboo too should be commended, as most of the time she is alone in the frame talking on the phone.
Kayyoppu, being a marked departure from the typical Ranjith style of filmmaking, deserves at least a watch.
Kayyoppu (Signature), directed by Ranjith, is a film that has the maker’s signature all over it. Though it may not be a crowd puller, the film impresses you, shocks you, disturbs you and awakens you to grim realities that are mostly overlooked. In spite of some flaws the film stands apart, and is worth seeing more than once.
Mammootty as the central character Balachandran is very impressive. Occasionally though, the star in him comes to the fore making his performance seem a bit artificial to keen observers. Khushboo as Padma, Mukesh as Sivadasan, Nedumudi Venu as C.P. Vasudevan, Narayanan Nair as Balachandran’s estate-manager and father-figure Kammaran, Jaffer as Babu who looks after things in the lodge etc have done their respective roles very convincingly
It is the sensitive approach of the director that makes the film stand apart. The very touching and disturbing climax remains etched in our minds for a long time. Though one gets the feeling that Ranjith occasionally tries to be a little arty, the director ought to be appreciated for a film that is definitely not to be missed by those who love good cinema.
The sensitive approach of the director makes way to the characters which are built worthwhile. The way Ranjith has presented Balachandran and the world around him is just awesome! Mammootty as the introverted struggling author Balachandran is very impressive. The peppy dialogues keeps us engaged over the snailish pace in which story unfolds. Mukesh comes out with a brilliant performance. But Khushbu as Padma steals the show and she has done it with a bang. Narayanan Nair as Balachandran’s estate-manager, Nedumudi Venu as C.P. Vasudevan and Jaffer as Babu who looks after things in the lodge, Mamukoya etc have done their respective roles very commendably.