Iyobinte Pusthakam

Iyobinte Pusthakam

By Lt Col D Purushothaman Pillay (Retd)

This insipid, amateurish period movie is an utterly disappointing, soulless, self-indulgent, lavishly mounted but ineptly directed Amal Neerad film; which is magnanimously being touted by the media, especially online, as a cult classic.

Making a period film is not a joke, but then one is not also allowed to make a joke of a period film either. This movie did meticulously tick off all the right boxes for all those clichéd must haves in a period movie; starting with a few vintage cars, a Union Jack, a small number of white backpackers masquerading as Burra Sahibs, a British Bungalow, an isolated hillock without electric posts, a palanquin stretchered by slaves, pastel lacy parasols for the Memsahibs, the occasional swarthy bleeding backs mercilessly lashed with leather whips, historical maps, a retractable monocular, antiquated firearms, curved daggers, steel sabres, some faux antique bric-a-brac strewn in a parlor with a central fireplace, a couple of characters donning round Gandhi glass frames, characters with beards and twirled mustaches, wearing Battle Dress Serge uniform breeches, cotswool shirts with suspenders, in riding boots and a few customary horses. But did that make it a convincing period film. Absolutely not.

Amal Neerad’s attempt at aestheticization of violence, following the Quentin Tarantino neo-noir school of film-making, was a failed effort to wallow in sybaritic splendor. It was at best a self-indulgent exercise, to satiate the cinematographer in him, to frame his shots in apt and exotic locations, which would serve as springboards, for him to capture scenes graphically and make the look and feel, visually opulent. This conspicuous bias towards visual appeal, robbed the rich story of its soul. I would never fault the setting and construct of the story, it is the direction given by the helmsman, which doomed its destiny.

I was an innocent victim of my curiosity, which had led me to visit the Wikipedia page of this film, from where I was ushered to a few links of reviews available online, that proclaimed it as a classic motion picture. For instance, Filmibeat.com calls it "Amal Neerad's painting with a camera....One of the bravest attempts of Malayalam cinema in recent times.....a complete visual treat.....the best ever visual experience of Mollywood". The Nowrunning web portal describes the movie as 'At once a contemplative and strapping work of art, 'Iyobinte Pusthakam' is the best Malayalam film as yet, to have hit the screens this year!', on reading such and other similar reviews, repeatedly cloning the same sentiments online, one is tempted to take the plunge, expecting an unprecedented cinematic experience. Coming as it is, in a year which saw beautiful heartwarming stories like "1983", "How Old Are You" and "Bangalore Days", one tends to believe such hype and get sucked through those turnstiles.

All any lover of cinema expects, especially when acclaimed critics extol movies, is to experience a coherent, well-told, soulful story that is skillfully narrated by the chosen characters. However, sadly that was not the case with this film. One comes away exhausted by the meaninglessness of the blood-soaked violence, in a bid to bring a hasty closure to the story. The 2 hour 40 minute murderous ordeal leaves only the two of the main protagonists standing, as the rest of the cast end up as spangled corpses, littering the green slopes of the Munnar woods, all eliminated with increasing degrees of cruelty and gore.

There is hardly anything worthy of review really, even that overhyped buzz around the music and background score of the movie, provided by an unknown debutant duo, is exaggerated. I found the acoustics, instead of aiding the flow of the narrative, often imposed an unaccustomed loudness that overwhelmed scenes, that otherwise needed to be handled with more subtle tonal timbre. The songs, many of which were unwanted and misplaced, looked like retro music videos of the 90s, which would do MTV proud. Even the choice of costumes were limited, the characters pretty much walked the whole film in the same get-up. At other times it was inexplicably ludicrous, for instance, one is left baffled as to why the character of Martha, a supposed sorceress played by Isha Sharvani, the lonely daughter of a tribal woman, who was disenfranchised while she was in the womb, is walking around in Western clothes, just because she has fair skin, inherited from her British father, who had died even before she was born.

Having said all of the foregoing, the characters of Lal; as Iyobe the penitent patriarch; Jayasurya, as Angur Rawther, the crafty usurper; and charming Fahadh Faasil, as Aloshy the rebellious soldier turned revolutionary, continue to linger on in our minds, despite all that mayhem. This is not a family film, which one would take the young ones along, to watch. Hence, if I was adequately warned, it is one of those films that I would have preferred to wait for the DVD to watch it in private.

I am positive that the make believe marketing strategies, gimmicks and hyperbole supported by slick image-intensive trailers, which look very convincing and nice on social media in their abbreviated avatars; will ensure that this movie will draw the crowds in droves and they will rake in the moolah, to be deemed a hit in due course. But I hope the immensely talented National Award winner Amal Neerad, would give us a better movie the next time round.

I would rate it a 2 on 5 at the most, that too, when in a very generous mood.

Nee Ko Nja Cha

Nee Ko Nja Cha

Gives One a Perfect Understanding of An Imperfect Comedy That Works!

By - Lt Col D Purushothaman Pillay (Retd)

    At the very outset it would be nice to be informed that not all films are being made to become classics. This film, was also not being created by its makers, to rank it amongst the most cerebral creations of all time. On the contrary, this fresh, young and enthusiastic team wanted the viewers to leave their brains behind and come for a merry two hour ride, along with their interesting cast of young characters. They were making a mad movie they believed in, using the best of whatever resources, intellectual or otherwise available to them. To top it all, in the end, it did have a serious, message to convey to the youth of today.

    

    Nee Ko Nja Cha is the short for 'Ninneyum Kollum Njannum Chaavum'. A story of the lives of three friends, two of whom are in various stages of unraveling the status of their relationships with their respective past, present and future partners. Confusing? Well it was a bit; but not serious enough to spoil the fun of the movie. The twists and the turns, suspense and drama, set mostly on the beautiful sandy beaches of Goa and towards the end in Kochi, accommodates awareness about HIV/AIDS, prudence of safe sex, and also brings to the fore, albeit humorously, the frivolity with which the youth of today, treat their relationships with the opposite sex.

    

    To touch upon the story briefly, Roshan (Sunny Wayne) a Casanova, cosmetic surgeon is friends with Abu (Sanju) a budding film director and Joe (Praveen Anidil) a TV Show producer, who has been ditched by his girl friend Ann Mathews (Poojitha Menon) who was also the anchor of his show, for the cinematographer of the same show Peter (Shani); to get over this break-up the three friends drive down to Goa. Here Joe once again confronts Ann and Peter, who are also there for their fun in the sun, only to fall in love on the rebound, with the receptionist of the hotel they were staying in Anjali Menon (Sija Rose). Taking the story forward the other two Abu and Roshan, after many hit and trials, finally manage a rollicking roll in the hay with the Spice Girls of the film, Sania (Merin Mathew) and Alice (Rohini Mariam Idicula) respectively; only to be devastated later, on being told that one of them has contracted the deadly disease AIDS, on account of that one night of indiscretion. The rest of the story unravels the reason behind why all this happened the way it happened. Were the situations manipulated to get the errant Roshan back with his wife Maya, if so by whom, go watch the film and figure it out for yourself. Did I kill the suspense? No, you are watching this movie for its occasional delirious humour.

    

    For a debutant Gireesh, who is also the Story and Screenplay Writer, besides being the Director, has done a commendable job. Neil D'Cunha's Cinematography was competent if not spectacular, so was the Art Direction by Unni Kuttipuram and Costumes by Sheeba Rohan. Prashant Pillai's Music is hummable at best. The only weak link in this cast of many newcomers was Praveen Anidil. Sija Rose, Sanju and Shani acquit themselves very well. Rohini M Idicula and Merin Mathew show promise, but the stand out performance in this film belonged to Sunny Wayne. He is fast emerging as a serious actor to watch out for, in the future.

    

    The film looks like it is emerging as a surprise hit of the year, going by the positive audience response. As is the case with most surprises, this film though not created for eminence, was fortunately fated for acceptance, it did work only because of the strong belief the cast and crew had in their unflinching intent to entertain with their own brand of humour. I quite appreciate the thought behind the making of NKNC, and would hasten to add that anyone who misses that point, will not be able to appreciate a rare blend of sincerity and spontaneity that went into crafting this comic thriller with a message. I am positive, that most viewers who come with an open mind, in spite of the confusing climax, would go out of the theatres, quietly amused at the end of this honest effort. Despite its numerous fallibilities, it definitely entertains. Go see it!

Annayum Rasoolum

Annayum Rasoolum

A Simple Heartwarming Tale of the Angst of Yearning !

By - Lt Col D Purushothaman Pillay (Retd)

'Annayam Rasoolum' is that once in a while movie that one watches, which will then remain with you for the rest of your life. One can't really put a finger on why it remains so?  It is perhaps due to an intriguing  mix of reasons, starting with the way the soul of the story was conceived, proceeding  to the sincerity of the narration of the theme, coupled with the essence of the characters who make up that story and  finally because of the earnest performances of the actors who bring those characters to life. The mood, the music and the backdrop in which it is set, needs to all fall into place for it to find that niche in memory forever.  Very few movies have that innate forthright candour that begets this precious legacy, it surely did, in this case. Therefore, one will never forget it, but discuss it, rewatch it and mull over it from time to time, both in thoughtful solitude and in erudite company.

The story depicts the unfolding of the twisted destinies of a Ponnani born, Kochi-based Muslim taxi driver Rasool, staying with his elder brother, relocated at a decrepit rented accomodation in Mattancherry, who accidentally falls in love with a lonely Christian salesgirl Anna from Vypeen, through a chance acquaintance of a failed-lover, seafarer returning home on leave; who hires his car from the wharf for that fateful trip to his home in Vypeen.

FTII graduate and ace cinematographer Rajeev Ravi who debuted with the much awarded Chandni Bar, whose body of work also includes Dev D, Gangs of Wasseypur and Classmates;  indeed makes an impressive directorial debut. The charm of Rajeev Ravi's 'Annayum Rasoolum'  lies in its uncomplicated lucidity. It  is a simple heartwarming tale of yearning which captures the angst of two pedestrian souls, living very ordinary lives. The main protagonists with their soul-stirring performances enact a saga that sucks the viewer;  into palpably feeling their torment, be torn by their strife and empathise with their unending tribulations.

What can one say about Fahad Faasil? I personally admire this young man, you may even call me a fan, but in one word his performance in the film is just - "BRILLIANT". He just cannot seem to put a foot wrong these days and is fast emerging as a heart-stealer, whose astute choice of work would be an envy for any upcoming actor to study and take lessons in choosing the right roles. He knows what he is doing, and is one newgen actor who has impressed one and all, with doing what he knows he does well. He knows his strengths and every new role he purposefully selects, endears him to his growing number of fans. His enactment of Rasool, mesmerises you with his innocent smile and those expressive eyes. His thespian act, enraptures the audience so much, so as to makes them lose the sense of time and become so involved in his life to root for him, to surmount all odds and get his object of yearning. That explains why despite the near three hour length no one really seems to be complaining about it, for Fahad casts his spell and makes you feel for him, you almost want to be there to help him and see that he gets what he wants. I cried profusely, when after the bold elopement and multiple relocations, he finally managed to move into his own house and atlast be alone with his Anna; albeit for just one night. I do not mean to spoil the suspense, but really wished they could have lived happily ever after. But then I guess the story needed to end the way it did, for us to like it the way we do. 
Debutant Andrea Jeremiah as the vulnerable unsure Anna Josephina, captured the melancholy and strife of a young woman getting uncalled attention, which on one level she likes, but cant admit to or allow to prosper, for fear of a looming tragic doom. The movie though narrated by Ashley (Sunny Wayne) a victim of unrequited love; who tries to author a love story by attempting to alter the course of these two destinies; ends up playing out the suffering and misery of Anna's fearful fate. Two other performances deserve special mention for their passionate poignancy. One is that of Soubin Shahir as Collin, Rasool's friend, who impressed with his great one-liners and comic timing and the other one is that of Srinda Ashab as Fazila, the effervescent wife of a small time crook - Abu.
Cinematographer Madhu Neelakandan's candid camera captured the essence of the pathos both in the characters and the narrative. Only occasionally, was he guilty of indulgently capturing blurry, over-focussed streetscapes, through a maze of an assortment of overhanging wires from streetpoles; in the begining of the film and then lingering, that wee bit longer, on static facial close-ups. Santhosh Aechikanam's,  soulful script did more than full justice to what was being attempted. The freshness of the melodious soundtrack  could be attributed to the youth of the 26 year old Nagapattinam-born, Chennai-based composer, singer-songwriter, Krishna Kumar, better known by his stage name 'K'. He is a music prodigy who was also trained at the Trinity College of London. The meaningful lyrics were written by Anwar Ali and Rafeeq Thiruvallur. The film also enjoys the hype of having five malayalam film directors making an appearance in it viz; Ranjith as Usman the estranged father, P. Balachandran as Rasheed, Ashiq Abu as Haider - Rasool's tormented brother, Joy Mathew as Anna's father and M.G. Sasi. They all did play their parts as actors very competently.
Fahad, Andrea, Ashiq Abu, Ranjith, Sunny, Soubin and Srinda are some of the new names of actors I shall look out for in movies I would want to watch in future.

Go see this wonderful film, it is very rare these days to find something so sincere, lucid and heartwarming, where one unwittingly ends up involuntarily sharing the plight, celebrating the joys and  lamenting the sorrows of the protagonists, in the end it is a film that makes you laugh and cry with 'Annayum Rasoolum'.