During the Mathrubhoomi Kalyan Silks Awards recently, Ashique Abu gave a shoutout to the producer of Salt N Pepper. In a rare gesture which conveyed humility as well as magnanimity, he gifted his cash award to the producer so that the producer can recover his investment. A decade back this statement would not have attracted much attention, but in 2012 it is very important. It showed the attitude of new generation of film makers as well as it pointed out that even a successful movie like Salt N Pepper is struggling to recoup its investment. Over the past few years we have seen a rot in Malayalam cinema and people spent their money watching Tamil movies and wondering why can’t we make movies like that. Now in the past two years we have seen some amazing movies come from new film makers. So what all contributed to this revival?

Before we go there let’s blame a few people. Like the European economy, there was a serial collapse in Malayalam. So let’s blame pretty much everyone including script writers, directors and actors for presenting us with nonsense movies. What was the last best movie written by Srinivasan? Or what was the best movie of Sathyan Anthikkad or Sibi Malayil or Priyadarshan or K Madhu or Fazil in the past few years? Things became so bad that Sibi-Udayan movies looked like classics and Illayaraja’s terrible music became the standard. In a year, out of the 50 odd movies that were released, only half a dozen made money and only one or two were worth remembering.

Malayalam movies were going through a tough transition period. Untimely demise of some of our stalwart writers and directors gave opportunity to a bunch of writers and directors, who made us think that mediocrity is the new standard. Aping out of state movies which had high production standards sans content, infighting among Malayalam movie fraternity, rising super star fees,mindless antics by fans associations took Malayalam movies from the exalted heights to the place where James Cameron went in his new submarine.

At such a period, it would have been easy for any producer to go into other business like starting a resort or betting on real estate. So first we have to thank those producers who invested money in movies like Salt N Pepper, Traffic, Beautiful, Urumi, City of God, Passenger, Chappa Kurishu, Ordinary etc. Those are the people who stand first in our list and we agree with Ashique Abu. They are the brave ones.

Second we have to appreciate the new generation of script writers. Look at Salt N Pepper for example. If it was a Sathyan Anthikkad movie, it would have KPAC Lalitha playing an old woman abandoned by her children and Innocent doing his standard senti act. If it was a Shaji Kailas movie, you could predict next dialogue to be mouthed by the superstar or the next scene to come. All other movies had the hero living in exile in Pollachi. But keeping the melodrama minimal, the script writers [Shyam Pushkaran and Dileesh Nair] kept Salt N Pepper going without having much conflict. It was utterly refreshing.

Third, lets meet the new directors. We mentioned Ashique Abu, but there are folks like Sugeet, Rajesh Pillai, Samir Thahir, Lijo Jose etc. They know the new grammar of movie making. Among these Abu and Sugeet are disciples of Kamal and while their guru is making classics like Pachakuthira, the disciples are entertaining us.

Before mentioning the actors, we applaud Malayali audience for supporting movies which did not have superstars in them. It reminds us of a time when people used to watch movies based on who wrote it (Padmarajan, T Damodaran, MT) or who directed it (Bharathan, I V Sasi, Padmarajan, Hariharan). We have almost reached that state now. Having said that, we find a fearless generation of new actors shaping up. Some of them are new ( Fahad Fazil, Asif Ali,Vineeth Srinivasan), some of them re-invented themselves (Baburaj, Kunchako Boban).

Also look at the new generations of actresses like Remya Nambisan, Swetha Menon, Mythili and Rima Kallingal who are bold enough to portray realistic roles representing evolving womanhood. The goody-goody Kavya Madhavan-Navya Nair-Bhavana type roles no longer appeal to people.

Even though he’s delivering flop after flop of late, Mammotty played an important role in bringing up many new talents into Malayalam cinema. This man has a knack in unearthing talented directors.Lal Jose, Blessy, Ashique Abu, Amal Neerad … It’s a huge list. Even though he did not act in some of these new director’s movies, he supported them and helped launch their careers. It shows that he is one intelligent man who knows that his stardom is doomed if there are no good writers or directors.

If you look at Malayalam cinema, the target audience is limited. We don’t have the reach of Tamil or Telugu or Hindi movies. We made it up by writing innovative scripts and creating a mass appeal. The movies were always low budget. In the recent past only superstar movies were making money and the cost of moving making went over the roof. Then we reached a stage where only super stars where making money and most of their movies ended up as super hit in a channel. Now we are back to the basics again with small movies with good script.

Another good thing is the advent of multiplexes. The multiplexes era has opened up niche markets. This would be a boon for small movies as well as there is no need to please entire cine-going crowd. This should draw family audiences who are scared to visit big theatres. We had covered this in detail at Varnachitram few months back.

There are reactions to this. Mohanlal who had kept a distance from Ranjith now met him and patched up things. Mammootty after a string of flops must be going back to the drawing board. It will be better if Suresh Gopi actually joined Kerala Police. One of the consequences of this revival of small movies is that there will be less producers investing in Super Star movies. This is a good thing because we want to see M&M in fewer but better movies. To make their quota of 6 movies a year, they end up acting in Cassanova and Venicile Vyapari. Instead of that we want a Pranayam or a Pranchiyettan. Another positive thing about this revival is the sidelining of the “talents”  of mimicry brigade like Suraj Venjarammoodu and Salim Kumar.

What can go wrong with this revival? There is always the customary infighting with the banning of actors and actresses. Sibi and Udayan, S N Swamy, as well as directors like Shaji Kailas are still in business. These new age directors and writers whom we praised earlier could get sucked up into big budget movies and lose focus on the craft. Or the new directors/writers not able to live up to the hype created by thier initial movies: For example look at the difference between Passenger and Arjunan Sakshi or James Albert’s creations after Classmates. Another huge problem is piracy, which is affecting every movie. As soon as a movie is released, torrents follow and soon it is uploaded on YouTube. For good movies to happen, movie makers have to make money.

Even though all these movies are interesting, it is important to add one historical perspective. We had fallen to such a rut that pretty much any non-template movie looks interesting and refreshing. With that perspective, we have to ask one question. How many of the movies we listed will stand the test of time and be looked on as a classic. Our answer is not a single movie qualifies in that matter.

Few years back when we were busy covering AMMA-MACTA fights at Varnachitram , we never thought this kind of turnaround would happen. We are really charged by this.

Trivia:
Question: What is common in Chappa Kurish, Traffic, Salt n Pepper, 22FK, Ee adutha Kalathu,Second Show, Cocktail
Answer: They don’t have Dappan Koothu
Question: How many Salt N Peppers can be produced with the money wasted on Casanovva
Answer: 16
Question: How many Chappa Kurish can be produced with the money wasted on Casanovva
Answer: 32

Thanks to Kishor Kumar for inputs.

• “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!

Christian Brothers is the most awesomest movie we have ever seen this year. The primary goal of the script writers was not to tax the brain of Malayali viewer and provide VFM (Value for Money). It is filmed in exactly the same house as Twenty-Twenty, with most people of that movie playing exactly the same role. Usually in such movies, the villain is not revealed in the beginning. But here it is revealed in the beginning itself. This helps the brain. It also helps if you have Alzheimer’s.

Various factors add to the coolness of the movie. It has people who wear cooling glass inside the house. Then it uses sophisticated “computer” technology and prints “Tracking Signal” on top of Google Maps when Mohanlal’s henchmen try to track phone calls. It has a song with lyrics “moham kondal innu ethu pennum oru poochaye pole”. It has henchmen standing around the same swimming pool in which Prithviraj and Jayasurya swam in Robinhood discussing life-problems, like should we kill him ourselves or should we get pavanai? It has Babu Antony with a black towel tied around his head (hint: he is a commando).

The awesomeness comes in installments.  Mohanlal plays a Christie, an underworld connected Malayali from Mumbai who has come to help Kerala Police and the Home Minister. If this does not bring goose bumps, we don’t know what will. Also, as we all know anyone who ends up in Mumbai becomes an underworld don. It is called Newton’s fourth law. One day you are simply walking along Juhu Beach and boom, you become a Don. Then police is after you and every unshaven youth calls you “Bhai”. It happened to Mohanlal two decades in Abhimanyu. It happened once again now. You would think he would have learned by now.

The next peak comes with the arrival of Suresh Gopi as goonda. It kind of breaks the rhythm. You are so used to seeing him police uniform, you suddenly feel as if the world has started spinning in the opposite direction. Before we sink into despair, the gooda turns out to be an IPS officer – you know the Mussorie kind. He also has a name like Antony Punnokadan or Joseph Vadakkan or something of that sort. Once he arrives, he confronts Mohanlal and they throw dialogue at each other like those arrows from Ramayana serial. Awesomeness oozes so much that we need some buckets to collect it.

Christie saves the home minister’s daughter (Kavya Madhavan) from the always destined to fail henchmen-rape, but he ends up in jail due to a family mess up. You know son innocent, father does not believe it, some bad apples in family theme. By 90 minutes, the number of people who want to kill or eliminate Christie looks like a Malayali queue in front of the liquor store – Sharath Kumar, Biju Menon, Joseph Vadakkan, Sai Kumar.

Once someone is in jail, there is a Newton’s law which immediately applies.  As Newton wrote in Principia Mathematica, every jailed person shall be presented in court and every opposing force will try to prevent this from happening. This movies too has one such scene where all the alpha males get to show their alpha maleness. Imagine Sharath Kumar, Suresh Gopi, Mohanlal, Babu Antony all with guns. It is 20 minutes of pure testosterone. Then there is also the scene when the son is not invited to his sister’s marriage, but he shows up anyway fooling the entire police force. Finally, guess what, everything was based on a misunderstanding. These silly people.

Then Suresh Gopi gets to dump dialogue let and right. At men, women, ministers, and Salim Kumar. Only children are spared. But once his “Ammachi” calls, he becomes such a docile creature that if you pour some milk in a saucer he will stand on all fours and drunk it and wipe his lips with his tongue. He also blushes when his mom talks of marriage. Maybe it is because he is violating some marriage laws, but it is cho-chweet.

But we are not trashing the movie because it is a pure commercial film and we don’t get it. There is one classic scene where Mohanlal is holding Kavya Madhavan and Co as hostage. She wants to make a phone call to Dileep, but Mohanlal the hostage taker does not allow it. So she rants, saying he does not know what love is. This is a big mistake for if anyone knows what love is it has to be the Mumbai based underworld connected Malayali. Mohanlal switches to flashback and thinks of his love Laxmi Rai in saree drenched by the Kerala monsoon. At the end of this scene, he hands over the phone to Kavya Madhavan. So touching.

There is another scene where Mohanlal shows up with a gun during Kavya Madhavan’s engagement ceremony. The number of Malayali actors/sq ft is quite high in the scene and still he manages to get his way. The dialogue that got thrown around in that scene would have killed most people, but the alpha males survive for the climax scene. In the final climax, where everyone is beating up everyone else and furniture is being abused without mercy and bullets are flying around like mosquitoes in a typical evening, you really don’t care if Sharath Kumar is speaking Hebrew. All you want to know is only one thing. Will the three heroes shoot the villain together or will Christie alone shoot him with the two guns in either hand. We won’t tell you what happened. You should pay decent money and watch it yourself.

You may ask, other than classy lines like “Pakistanil kayari Bible vayikkaruthu” is there something worthwhile in this movie. It is a fun movie and it is fast paced. Before you start guessing which previous movie of Sibi K Thomas and Udaykrishna had this scene, the editor moves to the next scene. It repeats again. Then only a person of Joshiey’s calibre could have pulled this ensemble cast movie with sufficient dignity. Think how this movie would have been if Sandhya Mohan or Bhadran had directed this. Or think if Joshi had directed this instead of Joshiey. We also admire the talents of Mohanlal, Dileep and Suresh Gopi for who can make any scene look interesting. Yes, we have seen them do the same thing a zillion times, but still.

For those of us used to seeing so called “Entertainers” like Twenty-Twenty or various mindless comedy movies, Urumi is a welcome change. It is a bold move from the producers to think of a big canvas movie, get a pan-Indian cast and film it as professionally as possible. The movie falls into a new category which can only be called fantasy-historical-fiction for it is not historical-fiction. In historical fiction, the writer tries to stay within the historical narrative and weave a tale without violating the space-time continuum. Brilliant writers like M.T even weave a new tale within the given parameters. But in this movie Shanker Ramakrishnan decided to throw the history out of the window. Instead what we have is a tale which takes place during Vasco da Gama’s voyage to India and that is pretty much the history part. Rest of the stuff is his imagination in overdrive mode and he makes it very clear in the begining of the movie when he writes all incidents have been changed for dramatic purposes.

But guess what. We don’t have any issue with it. A story is a story and the only question is if the dramatic purpose has been served. It a revenge saga of a boy who wanted to kill Gama because Gama killed his father. We can call this a Hero’s journey for it tries to follow a set pattern as the hero travels and goes through new lands and has new adventures. In this movie Kelu Nayanar’s calling is revenge. He knows Vasco da Gama is in town and wants to kill him. In fact at the begining of the movie itself the pre-history is given and Kelu has crossed the threshold and made a commitment.

So now that the motive has been given, what do you do for the next 2 hours 30 minutes? We see him travel along with his buddy Vavvali (Prabhu Deva) and during their travel they meet rest of the cast — Chirakkal Bala (Nithya Menon), her father (Amol Gupte), the king of Kolothunaadu and his scheming minister (Jagathi Sreekumar). They also meet Arakkal Ayesha (Genelia), Vavvali’s mother and also an Oracle (Vidya Balan). Finally, as expected, Kelu gets his revenge.

Imagine now that you are on a travel and you meet all these people and take their pictures. It is not really an interesting journey isn’t it. You need some twists in the plot. In fact there are some twists in the sub-plots, but none of them affect Kelu or his personality. The sub-plot concerns the way Kolothunadu is ruled and the succession battle there. There is another sub-plot concerning Arakkal Ayesha and her fight, but that too has nothing to do with Kelu, except for the fact that he is around. In such movies, what you want to see is the hero being put to test, completely pushed to the ground and how he survives that, rises and achieves his goal. Think Devasuram. Neelakantan is pushed to the ground and his machoism cannot save him. He has to rely on Revathi’s character to teach him some lessons about himself and life. As you empathize with him, there is a transformation in the viewer. The viewer who hated him till interval is now rooting for him.

In Urumi though, Kelu is never down. He is like Mayavi who appears in every troubled scene and saves the damsel. That is not really interesting. In Star Wars, when Luke is down, he has to go to a mentor, Yoda, who trains him and he returns back. Our heroes don’t need any training. They are experts in fighting and singing the moment they are born. There is no change in Kelu’s personality in the 150 minutes of the movie. He delivers dialogue in the same dead-pan mode and this makes him really an uninteresting person.

But there are three people who make the movie interesting: Jagathi, Amol Gupte and Nithya Menon. They get quite a number of scenes and it is a delight to watch them perform. These are well etched characters.

We already have written about the music, so lets mention a few things about cinemotography. It is by Santosh Sivan and there is nothing more we need to say. The visuals cannot get better than this. But just watching brilliant visuals without a strong story does not make a memorable movie. But then Santosh Sivan has some staple shots which are repeated in most of his movies. There is a scene in Asoka where SRK and Kareena take bath in slow motion under a waterfall. There is an exactly similar shot in this movie. Another obesession of his is eyeballs and closeups of eyeballs. From Terrorist to this movie, you see the same shot. In one song all the characters jump up and down on an invisible trampoline. You can call these shots his signature, but these repetitive shots pull you away from the immersive experience.

While the songs are terrfic, another let down is the BGM. Look at the scene where Chirakkal Bala is attacked and the music that goes in that scene. It is a fight scene and the music is the most inappropriate one. We know why it was done. Each person has a particular theme and that music is blindly dumped when the character appears. Similarly there is a piece when Ayesha appears and she is asked to sit on the lap of Chirakkal king’s lap. There is a scene where Prithviraj comes to resceue Ayesha and guess what music plays in the fight scene?

The next terrible thing in the movie is the visualization of songs. We simply loved hearing those songs, but when we saw them, some were not interesting. Aarane Aarane was done very well and so was Chimmi Chimmi. But look at the visuals for Aaro Nee Aaro. It is like a rock video songs with all the extras and Prithvi jumping up and down. It looks as if people from the 15th century suddenly time traveled to the 21st century MTV studio. Also the Oracle song called Chalanam Chalanam was simply terrible.

The movie brings up an important issue that none of us know about our history and care about it. Thus when the movie starts we see this guy called Krishnadas who is selling his ancestral property and then after hearing about Vasco’s story, changes his mind. The movie also paints the true picture of Vasco da Gama who was one blood thirsty trader. While the visuals are stunning, there is nothing great about the story. It is not the stuff of classic movies. While the creators have made a decent entertainer, they have missed an opportunity to create a Gladiator. We had great expectations from Shankar-Ramakrishnan-Santosh Sivan combo and maybe that is why we are disappointed.

By Arun Mohan

See, there are several historical pitfalls as deep as a bore, which any history knowing person will understand. The advantage Urumi has is that, 99% of Malayalees donot know our own history, atleast pre-1857, whereas most of them study and learn about Mughal and Rajput histories. Even our own state curriculum donot teaches where is Kolathanadu and Arakkal and its relation with Samoothiri.

Let me tell, there is a big mistake in first few scenes. Chirakkal is just a place or city that used to be capital of Kolathunadu Kingdom and until arrival of Dutch in 17th century, people used to refer the term Kolathiri instead of Chirakkal. In opening scene, we are shown Arya as Chirakkal Kotuval. But the script didn’t explain the relation between Chirakkal Kotuval and Kolathiri Royal family. As a result, the question whether Kelu Nayanar is part of Kolathiri family is unanswered. In first few scenes, we are made to understand that Krishnadas, the character Prithiviraj plays as modern is of royal heir and hence one needs to believe Kelu Nayanar was part of Kolathiri dynasty. However how can a- “Nayanar” (NAIR for Malabar area) become part of famous Mooshika Kshyatriya dynasty of Kolathiri. As per Nair traditions, its Marumakathayam, which means caste has to be inherited from Mother, not father. If Kelu Nayanar is from Chirakkal Royal House, naturally Krishnadas won’t be a heir today, as per Maternal law of Kerala, its nephews who inherit, not children.

Secondly the ship burning incident is from real incident when Vasco Da Gama came in 1502 as revenge against Zamorin (Samoothiri) for burning down Portuguese factory in Kozhikode killing 1500 Portuguese people. The ship Miri was bound to Calicut and it was hijacked near Kozhikode Beach to bring Samoothiri to negotiating table. So from where Kotuval of Chirakkal comes into picture. The script writer doesn’t appreciate the 100 km distance between Chirakkal and Kozhikode nor justify the amazing power of Kotuval to fly from Kannur to Kozhikode to attack Gama’s ship.

Throughout the history of Kerala, Kolathiri was the most powerful ally of Portuguese, after Kochi. Even in 1502 when Gama came to attack Kozhikode, he first visited Kolathunadu and signed in treaty to establish the Kannur Factory (the modern St.Angelo’s fort). So how in the movie, Chirakkal shown in odds with Portuguese. It was only by late 16th century, Kolathiri turned against Portuguese when Chirakkal and Kozhikode signed in peace treaty.

The surprising factor is that Arakkal kingdom has never been odds with Kolathiri in its five century long history. Perhaps, it was the Kolathiri himself, who created Arrakkal kingdom to allow his daughter who was married to Muslim to enjoy regal status. Ever since that, two royal families were in strong relations to each other and for several age old customs, members of both families has to jointly perform. Kolathiri family considers Arrakkal as its 3rd branch as the dynasty has 5 branches. So how come they shown as bitter enemies?

Likewise, the scriptwriters weren’t much aware of that, Guns and cannons were part of Kerala even when Portuguese first came to Kozhikode in 1498. Guns and cannons were introduced to Kerala, through Arab traders and Chinese. However the difference was, we had gun technology of 13th or 14th century even in 16th century as most of rulers didn’t invest much in improving new gunpowder technology. Rather focus and attention was developing on Kalaripayittu.  In the movie, we are made to believe, Chirakkal Princess doesn’t know what to say for Gun and calls it as Thee Thuppi! Whereas the word Pirangi and Thokku etc were much in Malayalam dictionary even in 14th century. So why to use the word Thuppakki? In 1502, Zamorins had fired more than 1200 cannons against Portuguese ships. However the Portuguese had better range, more firing power and manuveourability which our cannons didn’t have that time.

The movie had several other issues too apart of these historical mistakes. Many people do not exactly understand what is intended. For example, how many people can understand Perumpadappu means? When Estvo Da Gama was arrested, Jagathy says that immediately we must send an emissary to Perumpadappu. Its nothing but Kochi, as it was old name of Kochi Kingdom (just like Chirakkal- the capital of Kolathunadu Kingdom, Kochi was capital of Perumpadappu Swaroopam). Kochi that time was capital of Portuguese Indies.

There are some other issues too – In 1524, the third visit of Vasco-Da Gama, he didn’t visit Kolathanadu as shown in the movie. In 1515 Goa became the capital of Portuguese India and most of Portuguese viceroys started visiting and living in Goa. Kochi was their second capital and hence several factors and agents visit there. In 1524’s Gama’s visit, he first settled in Goa and later thought to visit Kochi as invited by Kochi King. Gama reached Kochi in Dec 23rd 1524 and died on next day due to Malaria. Vasco Da Gama was so fragile by 1524, that one blow from a person like Kelu Nayar’s kind of person would kill him. Yet we were shown that Vasco fighting with a powerful hunk like Kelu in full vigor. And the story is not clear whether he killed or not…

And thanks for Sankar Ramakrishnan, that at least through  his movie, he made Vasco’s second son Estave Da Gama to visit Kerala, a dream which Estave couldn’t accomplish during his lifetime as he was busy establishing African provinces of Portuguese and Homzur straits.

Joshiy and his team have reworked their ‘Twenty-20’ template to make a half baked thriller called ‘Christian Brothers’. There are foreign location songs, superstar Mohanlal in a larger than life role, father-son sentiments, Dileep’s comic acts,  twists which come in every thirty minutes,  Suraj Venjaramooodu’s bufoonery, an interval punch similar to what we saw in Twenty Twenty, fight between the superstars(Mohanlal,Suresh Gopi), a little bit of skin show(in the form of Lakshmi Rai) and everything else needed for a commercial potboiler;  yet the movie fails to engage you completely. Christian Brothers will be lapped up by the fans of the Superstar for sure and in all probabilities will become a big hit. But for an average movie goer it is just an average fare.

Story and the Script: Scripting for a multistarrer is no child’s play. Uday Krishna and Sibi K Thomas have come up with a no brainer script this time too. ‘Christian Brothers’ is marginally better than their own ‘Pokkiri Brothers’ but is not as entertaining or racy as Twenty Twenty. The loop holes in the script are far too many.

Christy (Mohanlal) is an informer to the Mumbai Police. Meenakshi, the daughter(Kavya Madhavan) of the Kerala Home minister gets kidnapped and Christy is called for help(remember Sagar Alias Jacky).  Christy happens to be the brother of Jojiy(Dileep) who is madly in love with Meenakshy.  Some unexpected twists later, Meenakshi’s kidnapper George Kutty(Suresh Krishna) gets killed and Christy is the suspect.  Enter Joseph Vadakkan, the super cop played by…you guessed it right!  There are also a number of subplots involving Laksmi Rai,  Lakshmi Gopala Swamy,  Jagathy Sreekumar et al. Biju Menon, Vijaya Raghavan, Jayan play the baddies while Saikumar(!) plays Mohanlal’s father.  As in Pokkiri Raja there is a father-son sentiments track here too. Sarath Kumar as Andrews has a very small role and features in two important sequences.

The main problem with the movie lies in its script itself.It is a remixed version of ‘Twenty-20’ and ‘Pokkiri Raja’. The first half of the movie (in which issues like land grabbing have been delt with topically)is a bit confusing and also drags considerably.  The much hyped fight between Joseph aka Thomichan(Suresh Gopi) and Christy fails to make any impact. Those who have seen twenty twenty would easily predict the interval twist involving the Underworld don Andrews and Christy. The father character of V.Mapilla(Saikumar)is just a xerox copy of Nedumudi Venu’s character in Pokkiri Raja.

Direction:  Joshiy has done a decent job at handling all these big stars efficiently.  CB is the kind of movie which relies heavily on it’s star power rather than a credible story line to get itself worked at the box-office and the veteran director has made full use of his huge star cast here.

Cast and Performances:  CB is Mohanlal’s show all the way and his character, Christy will be a treat for his fans. Though the movie has nothing challenging for an actor of his caliber, it will give him the much needed hit. Suresh Gopi repeats his daredevil cop act for the nth time and honestly I didn’t like his character much. Dileep plays his usual comic acts with elan,  manages to raise a few laughs whenever he is on screen. Though Sarath Kumar has a very small role he looks aged and tired on screen.  The leading ladies have nothing much to do.  In big budget movies like this, the female characters are casted just for the eye candy bit. Even no such luck here.  All the heroines except Kaniha looked plumb and totally out of shape.  Suraj Venjaramoodu manages to irritate the audience with his stale jokes.

Editing:  Ranjan Abraham hasn’t resorted to fast cuts and other gimmicks for cheap thrills. But at almost 3 hours, Christian Brothers  is way too long.  Wonder why 1)Suraj Venjaramoodu 2)the ’sayyavve’ song picturised on Mohanlal and Laksmi Rai 3)the character played by Harisree Asokan 4)even Lakshmi Rai were included in the film.  A lot of scenes in the first half of the movie were really unwanted and the lag was overtly felt at places.

Cinematography: Anil Nair has done a shoddy work with his camera. The movie suffers due to excessive lighting. Lakshmi Rai hasn’t looked so bad on screen before! Extreme close up shots were also there in abundance. Every pore and crease on her face were clearly visible, thanks to the mediocre camera man.  Another instance in which Anil Nair’s camera plays the spoil sport is the London scene in which Dileep is talking to Kavya through phone.  The whole scene is lit up in such a way that even a ten year old can spot the thick layers of make up used on Dileep’s face.

Songs and BGM: Deepak Dev hasn’t disappointed much.The songs are hummable especially the Moham Kondal track. The picturisation of the other two tracks Karthave and Sayyave are lousy, to say the least.  While the Karthave song has a  Maine Pyar Kiya (CID Moosa)/ Kavilinayil(Vandanam) hang over to it,the  Sayyave track suffers due to the unnecessary skin show by Laksmi Rai. Both Lakshmi Rai and Kavya Madhavan doesn’t look good and are overweight. The re-recording reminded of Twenty -20.

Verdict:  Christian Brothers will be loved by the fans of Mohanlal,Dileep and Suresh Gopi. For others its only a watchable fare. CB is no Twenty Twenty.Though it tries too hard to be one, it only ends up as a pale imitation. Rating-5/10

Reviewed by nikhimenon@gmail.com,nikhimenon.blogspot.com