• “Pranchiyettan and the Saint” is, I believe, director Ranjit giving the finger to those who had labeled him a “Hinduvta” director after a series of movies such as Devasuram, Ravanaprabhu, Nandanam, Prajapathy etc.
• There have been several movies based on the Kottayam Christian milieu; however movies set in Thrissur are rare. Other than Padmarajan’s Thoovanathumbikal, I can remember no other movie that has used the town and its slang as an important facet in the movie.
• It is refreshing that the movie has no “villains”. Siddhique is portrayed as Pranchi’s main rival, but Ranjit has resisted the temptation of having either the hero or villain import a dozen ruffians from several different places, and indulge in an outlandish fight sequence.
• The whole bit about hints around the hypocritical lives lead by Siddhique and Khushboo was uncalled for – a cheap shot, really. Could Pranchi not find his happiness even as his childhood sweetheart and her husband lived happily too?
• The whole speech sequence was awesome. It reminded me a bit of the iconic “balatkaar” sequence from “3 Idiots”; but the one in “Pranchiyettan…” was more about the fear of public speaking.
• The whole concept of “Padmashree-chasing” was a riot. Ranjit clearly has a ball here, with digs at all and sundry.
• Jagathy could have been avoided. He added absolutely nothing to the movie, and did nothing new (other than demonstrate a few Yoga poses) either.
• Finally, what does one say of Mammootty? This amazing performance is most un-Mammootty-like; in fact it is almost Mohanlal-esque, except for the spotless Thrissur slang (which I think Mohanlal could not have quite managed). We all know that Mammootty excels in statuesque roles, but to see him excel as the self-deprecating Pranchi reminds us that the veteran still has unexplored depths. More innovative scripts please!

by nikhimenon

Pappy Appacha is brutally bland!

Thanthonni, Pramani, Janakan, Body Guard, Agathan… Malayalam cinema has been delivering duds one after the other this year. Debutant Mammas (mis)directed Pappy Appacha ,  is nothing but a mere addition to this seemingly ‘never ending’ list. The movie is painfully silly, predictable and boring to say the least with some mediocre performances by the lead cast.

If George ‘Thanthonny’ Varghese’s did a cut and paste job on his favourite movies like Usthad, Narasimham, Lelam, Vazhunnor, Devasuram and Puthiya Mukham to deliver a Thanthonni, Mammas has done the same to Sathyan Anthikkad directed Manasinakkare, Sibi Malayil’s Ishtam, Joshiy’s Lion and Lelam and served it as a weird ‘dish’ called Pappy Appacha.

The posters of the movie promised to be a light hearted tale on the friendship between an illiterate father son duo. But sadly the movie ends up as a B Grade flick with cheap/stale jokes( that seldom rises above the standard of silly ‘tintumon’ kind of sms jokes), loud action scenes, fake melodrama and a predictable climactic twist(which is a routine these days, thanks to Lal) that might have worked in the techni colour era.The audio CD of this movie had a couple of melodious numbers tuned by Vidyasaagar like ‘Manjin Velli’ and ‘Thammil Thammil’. For some strange reasons the makers haven’t included these two songs in the movie and there are two other noisy ones instead which can potentially gift you a migraine.

Coming to the performances, Dileep repeats his usual antics and one liners for the nth time with limited success. Innocent is wasted and he has had a better role in Satyan Anthikkad’s Manasinakkare with Jayaram. K.P.A.C. Lalitha yells at the top of her voice whenever dileep feels sad and so does the girl who plays Dileep’s sister. Kavya Madhavan looks plumb and totally unfit for the role. Cinematography was adequate which Sanjeev Shanker aptly did visualising the beauty of Melukavu-Thodupuzha on screen. Had the editor been sincere to his work ,the movie wouldn’t have been this much painfully long and for the same reason I dare to accuse the editor for complacency. One of the plus points of the movie(and may be the only one) was the genuinely funny title cards.

VERDICT: Avoidable

The year is 2008 not 1980. Malayalees have lost the appetite for slow, sentimental, autobiographical movies, but East Coast Vijayan known for his stage shows where his name is repeated every 15 minutes has not realized it. His first film, according to reviewers induces drowsiness. Also when we thought that Jayaram’s career could only go up from where he was before, he seems to sprinting down the path only traveled by actors like Shankar and Ratheesh.

Movie Buzz writes

Vijayan East Coast who likes to be known as poet, writer, producer and now director with Novel, has come out with a film that will put you to sleep! The few audiences who turned up to watch the film, on its third day of its release and that too a Sunday, left half way into
the film.

Vijayan’s plot has been “inspired” from Hugh Grant- Drew Barrymore romantic movie Music and Lyrics, and he has malayaleeised it with some mushy romance and M. Jayachandran’s music which are melodious but not picturised well though Azhagappan’s camera is top class. Jayaram as Sethu and Sada as Priyanandini are good.

This Novel has to be flipped through, otherwise it will take ages to read it, as it moves at snail pace.

Unni Nair of NowRunning.com writes

Being a musical of sorts, Novel has some romantic songs, penned by the director himself. The songs have been composed well and shot in a romantic manner too. “Onninumallathe…” is already popular and the other songs too impress. The problem with the film is that there is nothing new in it, and also that film viewers in Kerala today don’t like to see sentimental stuff and the film has too much of sentiments in it. Being slow-paced also goes against it.

To sum up, Novel is an average romantic story marked by average performances by the lead artists and others. The scenarists could have put in more of an effort and then the film would have been better. It’s not an insufferable bore. It’s not an inspiring love-story either. Just a romantic film, that’s all!

“Scripts must not be considered as the backseat element to star value”, says the star of 2007, Sreenivasan.

“A good script is a fundamental element contributing to the success of a film. Instead of giving importance to get better scripts, obsession with star value has reduced the significance of the script in a film”, says the actor who has turned producer with his latest film ‘Katha Parayumpol’.[The scripts must take the front seat- Sreenivasan]

Srinivasan once again proved what an excellent script can do with Katha Parayumbol, one of the best Malayalam movies of 2007. He played the lead role and Mammotty did a guest appearance which made a good impact. All the reviewers agree that even though the story is wafer thin, Srinivasan has done a great job in pulling it of.

With the news that this movie will be remade in Tamil with Pasupathy playing Srinivasan’s role and Rajnikanth playing Mammotty’s role, there are lot of searches for this movie on this site. We have to see if this movie will be murdered like Chandramukhi or will it be able to retain the same spirit.

Unni Nair writes

Sreenivasan, who has done the script and debutante director M. Mohanan deserve to be appreciated for having come up with a film that touches certain chords in our hearts. A simple story narrated in a simple style. Though there is a lag in the first half, the climax saves it all. The film could have been made a bit crisper, but this flaw could be overlooked considering the director is a debutante.
The film is definitely worth a watch, especially for ordinary, ‘non-intellectual’ kind of people who would like to go and see films without intellectual presumptions and towering expectations. A good, touching film, told in a simple manner.

Movie Buzz says

The writer Sreenivasan and his director Mohanan has skillfully caricatured the characters you meet in a remote village- the moneylender and local ‘blade’ Eapacchan Muthalali (Innocent), Das Kattumantha(Salim Kumar), the boring village bard, guy(Mukesh) who runs the local tutorial college, rival hair stylist(Jagadish) tea shop owner(Mamookoya), self centered local politician who always talks about his connections(Augustine). Sreenivasan has also explored the craze among ordinary people for getting close or seen with a superstar. There is also a message that stars become superstars only because of their script writers who have given them memorable roles. The comedy laced satirical song ‘Vyathyasthanaaya…. tuned by M.Jayachandran is a rocker. P.Sukumaran camera has beautifully etched out the Thodupuzha countryside.

The film with a wafer thin story line works big time due to its climax, which has been worked out very well by Sreenivasan and a riveting performance by Mammootty.

Parashuram writes

The ultimate clincher for this film is its script. Authored by Sreenivasan, it is so layered that every frame has a comment to make about the world and every line of the dialogue on the mores of the society. The craze for celebrities and the problems of leading a principled life are discussed without being preachy or in-your-face.

Mammootty has the dignified presence of a real star and his aura and the mythical persona that surrounds him give a lifelike feel to the character of Ashok Raj.

India Glitz says

The film, skillfully repeats the representative characters, from every layer of the rural villages, (reminiscent of Sathyan films) with which the writer makes a lot of careful observations and clarifications about the phenomenon of super stardom and lives of people living in the lower strata of the society. Mostly represented by local professional actors in these roles, the film also gives an authentic feel with all sorts of storyline surprises and political criticisms in spite of its simple exterior. In the scripts, Sreeni seems to repeat some of his earlier sarcastic attributes like dark skin and heightlessness, but more commendable is that he has easily stretched a wafer thin plot to two hours and ten minutes with out much space for idleness.

Story telling is an art in itself – one that has as its prerequisites three imperative traits; characters with potential, a decisive plot and cautious attention to detail. A good narrator does not use these in isolation; rather he spectacularly weaves them together in a vibrant fabric of creativity and comes up with a mind boggling story in which they are indistinguishable to the rapt audience.

Balan (Sreenivasan) is the local barber at Melukavu, who leads an uneventful and almost passive existence, and except for the occupational haphazards that have been eating into his life, his worries remain minimal. Until Ashok Raj, the reigning superstar, (Mammootty) arrives for a film shoot amidst much aplomb, and the village gets to know of an alleged camaraderie that once existed between these alarmingly dissimilar souls.

Katha Parayumbol is indisputably one of Sreenivasan’s best compositions of late, in that it manages to redeem a few facets of the writer whom we have sorely missed over the years. The writer wages a battle with the actor and comes up trumps; the story that he dares to tell is one that is told with a whole lot of heart, and hence remains absorbing throughout. The benchmarks of the yesteryear Sreeni scripts are for once, discernible yet again; the remarkable simplicity and the witty structuring of affairs, the pleasant laughs on offer and the distinctive illustrations. And they’re conveyed with such conviction that you’ll catch yourself believing every outlandish detail.

Sreenivasan as Balan is apt; yet another extension of his self-hypnotic persona that is fitfully funny in his usual way. He makes the simplest off the cuff lines burst into life, and we find ourselves laughing at observations that might, in the hands of a lesser actor, land with a thud. Mammootty gets to play Santa Claus this Christmas, and wades in fabulously with a climactic surprise. He is bright and blustery and is a revelation, a supreme sweet froth of poise, bravura and unstoppable confidence.

The cultural slice that Sreeni puts up on a salver deserves all the consideration that an impeccable delicacy demands. Beneath the flimsy decorative toppings lie the sturdy pieces of analogies that are playfully arranged along the margins of a society under scrutiny. Every guffaw that it offers is invariably coupled with a moment of introspection, the result of which is as astounding as it is totally fulfilling. Sreeni does something different with Katha Parayumbol; he sets the story as his focal point, the human drama, and the passion of it all. Rather than attempt a colossal sociopolitical declaration based on a notion that does not require to be further examined, he watchfully links his inventive images with a potent exploration of human life and the vital desire to be remembered. The story does succumb to an over dosage of dramatics in the end, but not in a repellent manner. I find the outlook of it all, and the fundamental message of love and family, to be brilliantly elevating, for this is a thoroughly enjoyable, good-natured movie.

Katha Parayumbol is beautiful in the way it looks, but more importantly, it’s beautiful in the way it resonates. It’s a rewarding unique film that is well worth the time it claims for its earnestness and inspirational candor that is vividly brought to life. And above everything else it abundantly displays the calm urgency of a story that so badly wants to be told.

(Crossposted at MovieMazaa)

Sudama was a childhood friend of Krishna, but they lost touch with each other. Sudama remained a poor brahmin and when he went through bad times in his life his wife reminded him of Krishna. Reluctantly Sudama went to meet Krishna and you know what happened. Srinivasan’s version of the story consists of the friendship of a barber and a film actor.

Balan has always been a straightforward kind of guy, who never likes to depend on anyone else to meet his needs. Even when he is in dire straits financially, he doesn’t seek the help of anyone and tries his best to make both ends meet. People always talk good about him and even hold him in high esteem.

In the meantime, there spreads news in the village that Balan is actually a close friend of the popular actor and superstar Ashokraj, who is acting in a film that is going to be shot in the village.

No one knows as to where from this news had originated and who had spread it. But with the news getting spread in the village, Balan becomes sort of a VIP there. Things begin to take a sea change for Balan and his wife. Balan’s wife Sreedevi too boasts much about her husband’s friendship with Ashokraj and all. What all happens then forms the plot of ‘Katha Parayumbol’, in which Sreenivasan becomes Balan and Mammootty becomes Ashokraj.[Katha Parayumbol': Interesting story]

Srinivasan’s staple plot device is a person with inferiority complex and with that element itself many scenes come automatically. There will be references to his skin color and lack of education and there will be many scenes in which he embarrasses others. We are not sure when this inferiority complex syndrome Nagavalli got into Srinivasan, but he has successfully cashed it from the Nadodikaatu trilogy all way till Yes, Your Honor.
While the people behind the movie are veterans, the unknown factor is the talent of the director, Mohanan who is making his debut. Then, he is Srinivasan’s brother-in-law and we hope he would have got proper guidance from the man who directed Thalathil Dineshan of Vadakkunokkiyantram and Vijayan Mashu of Chinthavishtayaya Shyamala.

In this movie, co-produced by Mukesh and Srinivasan, Mammotty plays the character without the inferiority complex. Srinivasan, one of the talented writers of Malayalam comedy, has written entertaining movies like Azhakiya Ravanan and Maravathoor Kanavu with Mammotty in the lead role, but then no one was impressed with Bhargavacharitham Moonnam Khandam. So, when it comes to this movie, it is like trying to predict the outcome of a Jayaraj movie; it could be either very good or watchable, but one thing for sure is that the comedy will have some minimum standards.

(image via indiaglitz.com)

The subject of Shaji Kailas’s movies always have contemporary socio-political issues in the background. There will be a group of corrupt and greedy politicians, bureaucrats and police officers who form the caucus of villains, after a series of setbacks, the hero would finally break free with the blessings of a benevolent politician, usually the Chief minister, and vanquish all the baddies. Fast editing, agile camera work and quick pace are the trademarks of Shaji Kailas movies. Baba Kalyani is no different from Shaji’s usual movies, except for 2 crucial differences. One Mohanlal replaces Suresh Gopi and two the theme deals with Islamic terrorism.

The ATU (Anti-Terrorism Unit) headed by Baba Kalyani (Mohanlal) gets into action, when they investigate an email tip about a VVIP assassination plot in Trivandrum. This gives us a chance to see the members of the team in action, all decked in gadgets, with belts like that of Bob the Builder which has a flash light and conducting investigations in day time. Baba Kalyani updates his boss every second on the status (I am walking, I am talking) on his blue tooth headset in a highly irritating way. While following the assassination plot, they discover some RDX, ammonium nitrate and fuel oil in a dilapidated lodge. Learning that the people who had stayed in the lodge had gone to Kochi, Baba Kalyani makes a statement that Kochi is getting hot. He also makes a claim that terrorists would create trouble on Dec 6th, just by staring at a calendar.

Since the movie is written by S N Swami we did not expect a brilliant script, but he slowly started testing our patience. Baba Kalyani and team transfer to Kochi and start investigating the prominent figures. We would have given another 30 mins and the movie could have ended. Swami had other ideas. He wanted to give a useless role to National Award Winning actor Murali.

Murali makes an appearance as Arackal Asokan, a politician who has some history with Baba Kalyani. There’s nothing special about the way Murali acted in this minuscule role, nor was the role special enough to warrant an actor like Murali. Baba Kalyani was in love with his daughter Madhumita (Mamta Mohandas) and their relation fell apart over a misunderstanding. But then hey, they patch up everything and who would have guessed that?

Large scale proliferation of fake currency notes points fingers to Iza Mohammed Haji (Sai Kumar). Zahir Ahmed(Indrajith) is Haji’s son-in-law who is a college lecturer. Haji runs some charitable organisations, which the investigating officers think is a front for his illegal activities. Since Sai Kumar is Malayalam’s Uber villain, the viewer is left in no doubt that Haji is behind the terrorist plot. As the plot unravels, it becomes clear that the Haji is just a decoy. All this means only one thing. More time has to be wasted in an irrelevant sub-plot.

Baba Kalyani looking for a house to stay in Kochi ends up in Meenakshi Amma’s(Kaviyoor Ponnamma) house. Meenakshi Amma reminds Baba Kalyani of his mother and biggest marketing gimmick of recent times ensues – the song Kai Niraye. Meenakshi Amma has no relevance to the story or the movie and actually affects the pace of the movie.

As the magic date December 6 nears, the investigating team gets a vital breakthrough and scene shifts to Palani. Without getting into details and revealing the climax, the ‘complicated tactical approach’ promised by Mohanlal turns out to be coming down from the roof hanging on ropes wearing Spiderman 3 getups. Everyone shoots everyone else and all ends peacefully.

The movie had enough material about 45 minutes, but writer S N Swami decided to make it an aviyal by adding various unrelated incidents. As Shah Rukh Khan mentioned, our movies have to be a variety show and the hero must display all emotions in all movies. The slick editing and fast pace tries to conceal the lack of logic in the script, but then too leniency in that department finally catches up. At the end you end up wondering, if the plan was to bomb Palani, then what were the Kochi based terrorists doing in Trivandrum?

Mohanlal is one of the saving graces of the movie. He portrays the role of intelligent police officer with ease. Mamta and blue tooth headset vie for viewers attention and headset wins, by the virtue of Mohanlal’s attention to it. Jagathi, SaiKumar and Indrajith did decent jobs. Innocent appears in a minuscule role, so does Siddique with a lean look and a new wig.

Remember the time when Doordarshan used to cover cricket matches with one camera? When the batsmen hit the ball, the cameraman would scan the field looking for the ball like as if it were held by a drunken monkey. The camera movement is similar in this movie. We would have complained more about the camera man, if not for the background score by Rajamani.

It is as if Shaji Kailas told Rajamani that there should not even be a single moment of silence in the movie. Due to this his background score is played constantly, like a lottery ticket sellers tape, for every action Mohanlal makes on the screen. When his jeep comes in the horizon, the BG score starts, when he steps out of the jeep, it plays again, when he sneezes, it plays again. Some one has to tie Rajamani on a chair, play this music for 24 hours, like what the US Marines did to Manuel Noriega and make him feel how irritating it is.

Shaji Kailas movies are indistinguishable from each other from their presentation style or narration and this one too looks like yet another Suresh Gopi movie. We wish experienced directors like him pay more attention to the script, fix the loop holes and make it tight without adding unrelated events and characters.

Photo courtesy: Sify.com