We saw a movie which was made for less than 3.5 crore the other day called Romeo. It was directed by one of our favorite directors, Rajasenan, starring one of our favourite comedy actors, Dileep and written by the successful duo, Rafi-Mecartin.

In this movie Dileep plays Manu Krishnan, a male nurse. That itself is supposed to be comedy. He is on edee, podeee terms with Vimala Raman, a doctor so pretty that you won’t mind staying in a hospital forever. Vimala has a thing for him, but he does not have a thing for her. His thing is for Samvrita Sunil, a candidate on a reality show.

So far so good. Manu’s mother, played by Prithviraj’s real life mother, is a judge on the reality show. Manu’s father, played by Cochin Haneefa, then borrows money from Samvritha’s father played by Bheeman Raghu as a bribe for making Samvritha the winner. Few complications arise, such as Bheeman Raghu wanting to kill Dileep etc, resulting in Dileep ending up in an agraharam looking after a mentallyilla Risabawa. There is a subtle statement here that the characters we met so far were mentally stable.

There is a girl in the agraharam who falls in love with Dileep. But there is another guy, played by Asokan, who is in love with the agraharam girl. Then there is some multiple identity issues as well, with Dileep taking on names of other people. I should re-write that sentence. But what for?

At the end guess where they all end up? In an Ayurvedic resort. We don’t know why this venue was chosen as any place would have been apt – from ISRO to Oolanpara. With that said, then all of them sit on your brain and take it out neuron by neuron that your whole body becomes a phantom limb.

So what happened to the guy who directed Ayalathe Addeham and Melepparambil Aanveedu? What happened to the guys who wrote Punjabi House? What happened to the actor who made us laugh in Meesha Madhavan and Chanthupottu?

Forget the inane story. Forget the casting. Forget the direction. Just look the the characters. The writers are not sure if Bheeman Raghu should be a villain or a comedian or both. It is OK to have a villain who is part comedian, but this falls flat.

The reason it falls flat is because there are others competing for the confused character award. The ayurvedic resort is run by Vimala Raman’s father, who is serious one moment, beating up people the othermoment and trying to act funny some other times. Looks like each minute of script was written by a different person.

There is another irritating thing. Making faces. There are too many reaction shots of people frowning, expressing shock etc. Remember how the camera used to capture the expressions of various characters in the TV serial Mahabharata when one of the cast members made a profound statement. Rajasenan sticks to that level of maturity with the difference that Mahabharata was absorbing even with all the deficiencies in film making.

At the end of it one can’t help but feel sorry for Dileep. Such movies are his forte and Rajasenan/Rafi-Mecartin have an established track record.

But Rajasenan has been on a decline for sometime. He made one terrible movie called Immini Nalloral and this one seems to be in the same genre. Since Rajasenan always has been a less than 3.5 crore guy, we hope he spends more time with the script when he ventures out next time.

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In our preview, we wrote that Rafi-Mecartin and Rajasenan have just one trick up their sleeves and they repeat it again and again. According to the reviewers, this time it is no different. It is the same comedy routine repeated ad infinitum. One of our regulars, Jibs, had noted that if Dileep did not change his tactics, he might go the Jayaram way and that is exactly what Rediff’s reviewer too had to say.

Unni Nair writes

< The plot seems good and interesting coming as it does from Rajasenan, but post-interval things seem to go out of control and even seem to be boring at places. Dileep is OK as Manu, but there is nothing outstanding about his performance or character. Vimala as Priya is passable, but at places she seems to be rather uncomfortable with the role. Samvritha as Leena is good while new girl Shruthi doesn't impress much as Bhama
The film moves at a brisk pace in the first half especially as the emphasis is mostly on verbal comedy, but post interval the pace slows down and some of the scenes seem to lack freshness and appeal. The songs though in tune with the theme and mood, are ordinary and won’t stay in our memories for long. Nambiathiri’s camerawork is good and so is Raja Mohamed’s editing. The film is an average comic entertainer, and not a terribly bad one at that. But judging by the response inside the theatres on day one, it is to be seen whether the film does good business or not.

Moviebuzz writes

Rafi and Mecartin loves the Priyadarsan type of comedies where bus load of characters, some of them with mistaken identities, others with their own comic agenda meet in the climax and its total bedlam. Once more the “mad, mad, mad world formula” has been beaten to death. There is no original bone in the story or narration, everybody does their comic act and provide their quota of laughs and disappears.
Dileep, Haneefa, Sooraj, Salim Kumar, Bheeman Reghu (comic villain), Riza Bava, Asokhan, Malika Sukumaran (a new addition to the laugh brigade) does their roles competently and proves again that they have terrific comedy timing, while the girls Vimala, Samvrutha and Sruthilakshmi looks good.

Paresh Palicha, for a change has some analysis

The screenplay has everything that you can imagine in the slapstick films of a bygone era. There are impersonations, mistaken identities and what have you.

The first half works with ‘a laugh a minute’ situations. But this gets too much in the second half. It would have worked if the gung-ho spirit was maintained throughout the duration of the film. Somehow we get a feeling that the writer(s)-director team were clueless about how to get out of the quagmire they found themselves in.

Dileep seems to be control in the beginning as the role of Manu is tailor made for him. But this does not last long as the film proceeds. Known as a poor man’s Mohanlal when he started doing roles like this, the actor, of late seems to have lost some sheen in executing them. He had better rediscover himself soon or his career will go Jayaram’s way.

(Image via NowRunning.com)

Finally in December a new Dileep movie is going to be released. This time he has not chosen any auspicious day like Bakrid or Christmas but a rather uneventful day like Dec 14. Remember that scene in Lagaan where the villagers dance around seeing the rain clouds (Ghanana Ghanana song); for Dileep fans it is such a moment when they eagerly await the release of Romeo. With this movie, Dileep returns to his strengths – mimicry, oops, we mean comedy. In the movie he plays Manu, a male home nurse who romances Vimala Raman and Samvritha Sunil at the same time.

The script writers Rafi-Mercartin know one story, which is basically mixup of people and circumstances and they have mixed it very well in movies like Thenkasi Pattanam and Punjabi House. Then there is their guru Rajasenan who basically knows to make one type of movie. When all these single act ponies get together for a movie, the resulting story line can be predicted. Then after watching movies like Alibhai, Paradesi and Rock’n'Roll everyone could use a little laugh, even if it is the predictable one.

In an interview Director Rajasenan once mentioned that the best character for actor Jayaram is that of a fun loving guy who has some sadness inside him. What better way then to end this actors career than by beating this theme to death. According to the reviews the movie has nothing new and is highly predictable. So if you have never watched a Rajasenan movie, this might be for you.

Sify writes

The Rajasenan-Jayaram combo, who has given us some memorable films in the past, seems to have run out of steam. Their latest comedy Kanaka Simhasanam is a bitter pill, as story wise there is nothing new and the presentation is as old as the hills with some scenes lifted from old films.

Rajasenan has helped himself to various comedies in the same genres like His Highness Abdullah, Udayapuram Sultan among others. However the first half is tolerable but post interval the film turns predictable and is so boring that your heart goes out to Jayaram the actor who is totally wasted. But how long can a talented actor like him go on doing the same role over and over again? And Rajasenan’s direction and presentation is so stale and predictable that at a time when audiences are exposed to stylish films, such old-fashioned narration makes it terrible.

India Glitz says

As usual in the films of recent times, the story and script  by Biju Vattappara doesn’t offer anything in new and often goes to very predictable lines and cliche scenes. Even the potential of the theatre scenes to evoke laughter has not been used to needed extent. The forceful inclusion of some sequences to make slapstick comedy also backfires with null effect on the narrative. And the shoe string budget defined for the film is also evident all through the scenes in the film. The three songs by M.Jayachandran and Rajeev Akungal team have been shot in typical Rajasenan style. Sooriyano is the best of the lot choreographed on Jayaram and Lakshmi. Technical department of the movie is not much worth mentioning. To sum up, Kanakasimhasanam is a typical Rajasenan movie, providing just a time-pass stuff. And lot more, except some hard earned chuckles are seldom expected from such movies.

Now Running does not have much analysis this time

Jayaram fits into the role of Kanakambaran like a glove, while Karthika gives able support as Bharathi. Lakshmi Gopalaswami as Kanchanalakshmi too is an apt choice. Others in the cast like Janardhanan as Udaya Varma, Bheeman Raghu as Ramakrishnan, Kalasala Babu as Guru Indrasena Reddy, Geetha Salam as Rishikesha Kaimal, Venjaramoodu Suraj as Bharathi’s brother Gopalan, and Kiran Raj as Narasimhan have also done justice to their respective roles.
The songs have been shot in typical Rajasenan style. Cinematographer K.P. Nambiathiri, editor Rajamuhammed, art-director Boban – all have given him ample support. To sum up, Kanakasimhasanam is a typical Rajasenan movie that is enjoyable, provided you don’t expect anything more than the usual Rajasenan stuff.

In Madhuchandralekha’s preview we were hoping that Raghunath Paleri, who wrote screenplay and dialogue, would do a good job and provide us with one of those beautiful movies, as he had done in the past. But the movie reviews tell a different tale, the story and screenplay has let the movie down.

Sify.com says:

The story, concept and presentation are totally bizarre and may have worked in the 70’s and 80’s. Rajesenan and his scriptwriter Raghunath Paleri go haywire and overboard as comedy characters ham outrageously to tickle your funny bones. Jayaram looks bewildered though he has lost weight and looks good in costumes designed by his wife Aswathy Jayaram. Mamta lacks screen presence and the typical Malayalee looks. The songs by M.Jayachandran are melodious especially the title song. One really hopes that Jaylockquote>aram gets a better script in his next outing!

Rediff.com has mixed feelings about the movie:

The pull of nostalgia was palpable from the beginning, of course, but the million dollar question is: has it satisfied audiences? It will be fair to say that you come out of the movie hall with mixed feelings. Madhuchandralekha has its moments, but they somehow do not fit in with the whole. It depends on Urvashi’s antics, without her getting any support in the form of a story or characterisation

Jayaram and Rajasenan made some good movies many years back like Ayalathe Adheham, and Meleparambil Aanveedu. Most of these films followed the same design pattern of light comedy, light sentiments, and a happy ending. These movies were entertaining and less taxing on the brain and heart. After a while that combination stopped making films.

Now after a long time Rajasenan is joining hands with Jayaram to make a new movie titled Madhuchandralekha following the same design pattern.

Madhu and Chandra were married when the former was a nobody. Things are different now. He is a respected singer and composer, and has his share of fame and fortune. Uneducated though she is, Chandra is aware of their incompatibility in the changed scenario, and attempts to improve, even trying her hand at learning English. But she commits one faux pas after another and Madhu is ever at the receiving end of her follies. In comes Indulekha to complete the triumvirate of Madhu-Chandra-Lekha. Indulekha is a slim, svelte model and an ardent lover of Madhu’s music. Complications begin.[Synopsis]

As you can see, there is nothing original in this story. People will go to this movie expecting to see the chemistry between Urvashi and Jayaram, who excel in comedies. According to Jayaram, no other actress comes close to Urvashi in performing in a comedy movie and we agree with that.

While Urvashi still remains popular as we saw in Achuvinte Amma, it is Jayaram who should be worried. His past five movies (Amirtham, Finger Print, Sankar Dada, Alice in Wonderland and Pauran) flopped miserably. If this movie is successful, he can ease up on his chenda practice.

The movie has one major ingredient which could pull in more crowds – Mamta Mohandas. When we look at the search words on Varnachitram, the maximum queries are for her, compared to any other actress. Her popularity among men could pull in more crowd than the usual family audience.

The movie’s screenplay and dialogues are by Raghunath Paleri and from his previous work in movies like Onnu muthal Poojyam vare and My Dear Kuttichathan, we know he maintains a good standard. We had a good opinion about Rajasenan till we saw Immini Nalloral and that is the only risk this movie has.

Famous actress Sneha (Navya Nair) comes for shooting in a small village and Jeevan (Jayasurya), her biggest fan sees her stepping out of the car. He makes a sound like a chicken clucking. Then he produces a sound similar the one made by dogs when someone throws stones at them. He then rolls his eyes and shows all his teeth. Apparently this is Jayasurya’s way of showing excitement. Did I say he also wears dark glasses all the time?

There is a marriage scene in the movie and Jeevan gets to act as Sneha’s groom as the hero’s double. He takes it seriously, frames the wedding photo in the house and starts talking to his imaginary wife. His parents (Bindu Panicker, Janardhanan) get worried. Meanwhile the film unit moves to another location and Jeevan turns up there. Sneha does not recognize him and this makes him upset. So he makes sounds like the clucking of a chicken and the one made by dogs when stones are thrown at them which is Jayasurya’s depiction of anger.

Frustrated, he kidnaps Sneha, drives to a forest and ties her to a bed. While rest of the world is worried that the famous actress is missing, Jeevan’s parents are happy that he is on TV. They invite all people of the village to their house, and serve them food, while they all watch TV together (It’s a demographic miracle that all the people in this village have the same low IQ). Sneha gets very angry at Jeevan and tells him how much she hates him. Soon the producer of the movie comes searching for them and he is also tied to another bed. Their attempts to escape are thwarted by Jeevan.

Finally Sneha tells Jeevan the sad story of her life and then Jayasurya makes the sound of a clucking chicken. Well you get the idea ! Jeevan releases her. After reaching home she decides to marry Jeevan. Ha, you didn’t expect that did you?

This movie is a work of art and poetry, if you are sufficiently drunk. The story, screenplay, dialogues and direction are all by Rajasenan. The movie seems to be a set of unrelated scenes finally assembled together by the editor. The movie left many unanswered questions. Was the character played by Jayasurya, a comical one or a tragical one? Was he a villain or a hero? Was Rajasenan smoking pot or kanjavu? Was he even present during filming?

The movie has many brilliant scenes like the one in the forest where we see Sneha tied to the bed and Jeevan sitting next to her. Jeevan unties her and they break into a dance. After the dance is over, he ties her back again. Then there is a scene where Jeevan has kidnapped Sneha and Sneha tries to escape from the vehicle. Jeevan hits her and her head hits the soft part of the back seat and she falls unconscious. We really laughed for this one.

Somehow the director realized that Jeevan was an irritating character and to lessen his impact he decided to make more intensively irritating characters. One such character is the producer of the movie, who walks with ear pieces from various cell phones and shouts into each one when a call comes. Giving him good competition was Janardhanan who seems to have dubbed the movie by swallowing the microphone. When I say, Salim Kumar is the most subdued actor in this movie, you can understand how strongly the others have acted.

The camera work is by Nambyathiri and he deserves a few awards for some shots. There is one scene where the police officer played by Cochin Haneefa comes to flirt with Jeevan’s sister. First the camera shows Haneefa’s face trying to display sringaram but actually looking like constipation. Then the camera tilts about 15 degrees to the right and shows his face again. Then it tilts another 15 degrees to complete a full circle. As you are searching for Tylenol, the camera does the same thing on the actress playing Jeevan’s sister. Hollywood producers must be camping outside Nambiathiri’s house (or atleast Tylenol manufacturers).

We have not seen many movies of Jayasurya, but in the most recent one, Pulival Kalyanam, he showed that he cannot act. He confirms that with this movie. He has lot of dialogue in this movie and talks often looking at the camera and you feel like throwing 10 paise to him just to shut him up. The only major emotion on his face is that of a drunken monkey.

Navya Nair has nothing to do in this movie and probably this experience must have been the reason she moved to Tamil. Rest of the characters like Bindu Panicker and Janardhanan seem to be fighting with Salim Kumar to see who could be more irritating. Siddique gives the performance of his lifetime when he appears in three scenes, two of which are two second scenes of him watching TV and showing the thumbs up sign.

I think the movie had songs, but I was busy applying ice on my forehead and might have missed them.

At the end of the movie, we wanted to start a fundraiser for Rajasenan so that he does not make anymore movies. While watching the movie our mood swung between exasperation and desperation. If you hate someone and want to hurt them bad, send them to this movie.

Have you seen this movie? What do you think? Let us know by leaving a comment in the box below.