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.

Direction: Joshiy / Joshee/ Josh-hee or some other funny spelling.  Other crew: I don’t know, and I frankly don’t care, because, they are not even worth mentioning.

Well, we have all seen this – a hundred times.  A father of high moral values – misunderstands his son – thinks son is gone rogue -  dad supports the villains -  kicks the son out of his house – later when the villains attack the father,  son returns – saves him – father says sorry and dies.

Just to refresh your memory – Sphadikam, Balettan, Chotta Mumbai – a few in which Gentleman Cadet Mohanlal himself starred.  So if you have seen any of those,  save yourselves from this one,  go buy a bottle for the cost of the ticket and enjoy your evening.

Josheeyi, Josh-hee, joshy josh hey Joshey after the hangover of 20-20 is stuck in the same soup formula,  mega movies,  huge stars(literally!),  larger than life roles and cheap slap stick comedy.

Here is the story,  or what is left of it:  Rtd. Captian Vargheese Mappila (Saikumar) marries off his daughter Jessy (lakshmi Gopalaswamy) to Krishna(Goergootty) who is actually a pimp in Mumbai. Christi(Mohanlal ) who is a decent god fearing, family loving son, as he always used to be in all movies,  goes to Mumbai and finds out the dealings of Georgeootty.  Georgeootty kills the goondas who were chasing them for no apparent reason, while he could have run away, hands over the gun the Christi and escapes. The police arrests poor innocent Christi(violins in the background, please).  Georgootty doesn’t stop there – he goes home, kills Jessy, his wife, again for no apparent reason. The clever villain then goes to Kerala, to Saikumar and tells him its Christi who did all this.

Tang da-dang !

Poor Christi out on bail, returns to his father to explain these things – Then the familiar thing happens -
Christi: “Dad, I have to tell you something”
Vargheese Mappila: “No, I dont want to hear anything! You have spoiled the family’s prestige ! you killed my daughter! Get out ! I dont want to see you again!”

Christi: “ But dad, its kind of important, you should hear this”
Vargheese Mappila: “No! I dont want to hear it! Get out!”

(well, if you remember seeing such scenes a 2983 times before, starting from Satyan-Sheela movies,  its your fault,  you don’t forget anything, do you?)

Christi, is disappointed as much he would be if he didn’t get ticket to a movie, walks out of the house,  promising never to return.

That bugger pimp Georgeootty, killed his sister, put him in jail, blamed him for everything, won the trust of dad, and is staying in the same house with your other sister -  and Christy cool, simbly walks out.

If you are still with me, there is more- Suraj Venjaranmoodu is irritating( if i had a cook like him, he wouldn’t last 2 days at my home – got to admire the patience of the Home Minister – enacted by Devan), Harisree Ashokan( his 24th time in the role of a broker) is damn irritating.  Guys, wake up!  The name of what you did on screen is called cheapness, not comedy. I had a better laugh when I watched clowns in cheap circus tents.

The intro scene of Mohanlal:  After the usual build up,  there is fire all over the screen – Mohanlal appears and floats horizontally and fires bullets at the audience, then he splits into 3 and joins back again.  What an amazing skill!  I hear that Mohanlal recently mastered this trick while training with the Indian army.

Then there are the main villains- Vijayaraghavan and co. They just drink scotch whiskey near the pool and randomly stab and kill people.

The average age of all the actors in the movie is 53 years, 9 months.

A fat and old Suresh Gopi, a faint shadow of his former movie image,  mouthing rhyming dialogues and marching here and there in uniform.

The fight scenes at regular intervals of 20 minutes are perfectly choreographed by Disco Shanti. No body gets hurt.(nothing spectacular here, go out for a smoke if you like. if you have seen one Mohanlal fight, you have seen it all)

Its a 3 hour 15 minutes of non stop torture. Wait for a few weeks and the theater projector operators will do some editing for you,  and hopefully make more sense then what is presently there. I am sure with some lavish use of scissors, we can recycle the rubbish and re-create a 10 minute crisp completely different movie, or maybe a couple of them.

Other than to show a bit of skin and also to show us, the stupid audience, that Christi is a man with emotions and is capable of loving and caring, there is Lakshmi Rai, and two completely unnecessary songs.

Dileep blabbers his usual stuff and roams around through screens, well,  I don’t know what else he did in the movie, other than being a reason to bring in Kavya Madhavan and an irritating song in foreign locations.

This is the kind of nonsense movie these old Jurassic age directors churn out. These are the kind of movies the stalwarts like Mohanlal and Suresh Body choose to act.

And these are the kind of movie that we, poor Malayalees, deserve to see – because it’s us, and no body else, gave the movie makers the feeling that we will gulp down any sh*t that is presented to us packed in colorful superstar wrappers and tied with the ribbon of over hype.

Enjoy your evening watching the news at home, it will be more entertaining than this movie.

Christian Brothers Rating: 2/10

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

Q: Can you please describe your writing procedure of the script.

A: First of all the story discussion will take place after getting the main thread. This part is very important. My ideas and director’s ideas get exchanged and we develop the scene-order. In this discussion, the plot gets a full form and we fixes the scene order. That time I make some rough notes. But the rough notes are not necessary. Casanova is having 60 scenes. Without referring anything, I can memorize all these 60 scenes right now. So when the scene-order is complete and fixed, I starts writing scenes from the beginning. It include the dialogs also. I write a scene, by speaking the dialogs myself and self analyses the dialogs whether it suits the mood and situation. After writing the particular scene, I re-write it by omitting and adding some points. Then writes that scene once more. In total, I write a scene three times. The same procedure will be followed for all the scenes in the scene-order. If I feel a scene is boring while writing it, I stops/give up that scene right there and tries for another one, may be written only after discussing with the director. All writers are not having identical methods, there will be changes in the procedure.

Some time back we had talked to Sibi K Thomas and Uday Krishna script writing duo, Here’s what they had to say about their style:

varnachitram.com: Since there are two of you, how do you divide the work. Does one of you write the comedy scenes and the other writes the serious scenes?

SKT/UK: No, No. First when we get a thread we try to see how to expand it and in what all directions it can be taken, how humor can be added and form it into a story. Then we come up with the scene order and a one liner for each scene. We discuss with the director and incorporate his good suggestions. After that we write the dialogue. Sometimes one of does a set of scenes and the other person does the remaining scenes. We review each others dialogue and suggest improvements. Some scenes are written by both of us. The final result is our screenplay.[Interview: Sibi K Thomas , Uday Krishna]

While realeasing his new film, July 4, named after his lucky day, Dileep has realized that July 5th is also a lucky day. The movie which could not be released on his birthday has done good business even when it was released a day later. The implications of this are great for this means that Dileep’s movie for next year can be titled July 5th. In fact if this trend continues, he will realize that any day is a lucky day provided that movie has something interesting for the viewer. Since there are 365 days in a year, the titles of all possible Dileep movies are covered now. A much more difficult problem for next year would be finding a heroine younger than Roma.

Reviewers asks us not to expect much comedy, which Dileep’s strength, in this movie,  as this is an action movie. They credit Joshy and script writers Sibi and Uday with an edge of the seat thriller.

Sify reviews:

Like all Joshy films of the 80’s, this one two starts in a prison, where the protagonist Gokuldas (Dileep), is brutally beaten up by the Superintend of the jail, former ACP Ramachandran (Siddique). Das actually is due to leave the prison for his good conduct on July 4 (hence the title) but Ramachandran is determined that he will not leave the jail alive! In a flashback Gokuldas, narrates to the good jailor Potti (Innocent), his life and times and why the bad cop Ramachandran is after his blood.

Gokuldas as a child witnessed his mother being brutally raped and killed by a cop, while he and other children accused of being thieves was in lock-up. Later he and the other children kill the cop and run away to Mumbai, where they join the underworld. But the death of an innocent taxi driver and close friend Gopalettan (Vijayraghavan) in a police encounter, makes Das change his attitude. He opts for a peaceful life in Coimbatore as a taxi driver, and also takes a decision to look after his friends daughters.

Now Running.com comments:

Dileep as Gokul Das is good and he does justice to his role. Notebook fame Roma as Sreepriya renders able support. Siddique as Ramachandran suits his role perfectly well. Devan as Sreepriya’s father Viswanath is OK. Innocent as Narayanan Potti, Vijayaraghavan as Gopalan, Lakshmi Ramakrishnan as Sreepriya’s mother, Cochin Haneefa as driver Abu etc do justice to their roles. All the others too fit well into their respective roles.

The technical support too is good. The songs in the film though are not impressive. The only song that is good is “Oru vaakum mindaathe…” To sum up, July 4 is a film that is well-made, but it doesn’t impress us much, the main reason being that this is not what is expected out of a Dileep movie. People expect him to play a merry and lively character, and if that is done, they would be ready to accept action too from him. But here we have action and drama only, sans the usual Dileep kind of humour. And that does harm to the film. And similarly in the second half, matters seem to drag a bit. July 4 can be termed a well-made but average kind of film that won’t come close to being a must-see.

Rediff.com says:

It is understandable that he would want to release his films on the fourth of July ever since his film Meesa Madhavan [Images] became a huge hit (it was also released on July 4). But to name a film after the date with what can be called as an excuse of a screenplay is surely stretching it too far.

When someone depends just on luck, without seemingly putting in any effort to achieve success, it creates a kind of revulsion in us. That is what happens with this film.

The excuse of a screenplay by Sibi K Thomas-Uday Krishna has layers and layers of flashback that make us feel as if we are peeling an onion! The story of Gokul Das (Dileep) is inspired from a number of films beginning with the Mani Ratnam classic Nayagan to numerous nondescript films of recent and not so recent past, with a song popping up at regular intervals as if to give respite to the harried viewers from the humdrum proceedings. 

Things have gotten so low that now people are comparing this film to CID Moosa and Kochirajavu as if they were gold standards for entertainment. Only the folks from India Glitz seems to have liked this movie, while others think it is neither original nor entertaining.

Velu Says:

The whacko police officer, loud, odious and over bearing, is penciled to perfection by Dileep; yet its a fact that Garud is Meesha Madhavan’s poor cousin, though they have swapped roles for a change. Kavya ghost walks through her stiff task and Vijayaraghavan is sheer annoying sporting a pout. Alex Paul persists on the thunderous percussion and Dileep’s seduction number would make the likes of Helen run for cover. Well, the less said the better.

An exhaustive analysis, as you see, is hence unfeasible. It’s neither keenly expected nor entirely desirable. Because any honest endeavor to scrutinize this new age hero’s psyche, would raise much more laughter than the film itself, for sure. It remains to be seen, if this chaotic mayhem invites much deserved wrath or loud guffaws, but categorically points to the sluggish emergence of a new breed of atrocious films that pass on under the guise of harmless labels as slapstick and farce, while in actuality being an absolute slur on both. An awful assault on the intelligence, an inexcusable insult to the commonest of sense and an appalling offense to the most ordinary of emotions, this is tactless cinema at its crappiest worst.

May my busted brain Rest in Peace.

Ratheesh Comments:

Watched yet another useless Malayalam film today, at Mas theatre – Dileep’s latest comedy, Inspector Garud. Dileep appears as a very corrupt police officer in the film, who of course becomes “good” towards the end. All the characters in the film (except for the main character, to some extent) are stereotypes – starting from Vijayaraghavan giving yet another school-boyish performance as the villain, to small roles like that of Meena Ganesh (I am not sure whether that is the name of the actress) coming as the “Vanitha Commission” member for the Nth time on screen (May be her name should be entered in Guinness Book). Dileep has tried hard to make the audience laugh in a kind of role which he is so familiar with, but he couldn’t achieve much with such a patchwork of an idiotic script.

Nowrunning.com says:

When you go to see the Dileep-starrer Inspector Garud directed by Johny Antony, you’d expect another film like CID Moosa or Kochiraajaavu. And that is what Inspector Garud doesn’t happen to be. For Dileep fans and for fans of Johny Antony (the director of such roaring hits as CID Moosa, Kochiraajaavu and Thuruppugulaan) the film is a disappointment. At the end of it, you feel all wasted and that justifies the booing that could be heard towards the end of the film on the first day itself.

The way the song “Kannum chimmi chimmi…” has been visualized reminds you of the Tamil song “Kicku eruthey…” in the Rajnikanth starrer Padayappa and even Dileep seems to imitate the Tamil superstar. Scenarists Udayakrishna and Sibi K. Thomas and director Johny Antony should have packaged the film better, adding more humour and comedy, because that is what people seem to have expected.

India Glitz comments:

The film certainly doesn’t disappoint, even if it doesn’t match the expectations, if you are with something high. The ethics of the characters in the film could be of a questionable nature, had it been taken too seriously. But that is exactly what Johny Antony steers clear of. He makes a light joke out of everyone and everything.

This is a Dileep film that registers him in a new getup, lives the role, conveying the right amount of mischief and keeping his infectious laughter till the very end. He reiterates his status of a crowd pulling star and steals the show with a designer-made role.

Sify.com’s take:

The comedy team- writers Udayakrishnan & Sibi K.Thomas, director Johnny Antony and Dileep are back with yet another slapstick comedy for the masses with large dose of crude and inane jokes. They believe that no joke is too low to be cracked as long as there is an audience for it.

Another problem is that Inspector Gurud does not have a single original bone in its body. Typical of Johnny Antony, generous tributes have been paid off to a dozen Kollywood and Bollywood films. One of the songs in which Dileep dresses in a suit is a straight lift from Rajni hit song Kick Eeruthe.. from Padayappa. For Dileep, playing the title role comes naturally to him and he excels in slapstick madness. But his pairing with Kavya is a bit stale.

If crude gags and slapsticks galore are your idea of fun then Inspector Garud is worth a laugh.

Dileep did not have a great year in 2006 as movies like Chakkarapottan, Pachakuthira and Don did not set the box office on fire like Meesha Madhavan and Chanthupottu. So he is back  with his trusted team, lucky heroine and favourite director once again for this new venture.

One of the scenarists of the film, Udayakrishna, says: “Madhavankutty has bribed his way to the post of sub-inspector. He becomes a circle inspector within three months of service. “The story begins with Madhavankutty alias Inspector Garud taking charge of Thevara police station. He soon becomes friendly with the affluent in the area. Things get out of hand , however, when he gets into a tiff with sub collector Sethulakshmi, without realising her identity.”"It’s a wholesome entertainer. Madhavankutty has been christened `Inspector Garud,’ by his colleagues, as he has the habit of whisking away what or who he likes, just like an eagle, ” says Johny, who has earlier directed `CID Moosa’ and `Kochi Rajavu’ with Dileep. [The anti-hero ]

We have heard that now to get admission in Kindergarten children have to attend interviews in some schools. If you ask one such kid on what will be there in Johny Antony movie, he will be able to say it without any doubt. Johny Antony is clear that his movies have to be entertainers and this one is not going to any different.

This film has the usual suspects like Ashish Vidyarthi, Harisri Asokan, Salim Kumar and the songs have been filmed in Australia. This template has worked before, so why change it. Since Dileep’s movies released on American Independence Day have worked well for him, this time he is taking a bold step by releasing it on India’s Republic Day.