Manjummel Boys is a riveting survival thriller that shines through its
simplicity, delivering an engaging cinematic experience that's worth your time.
While excessive hype might detract from its straightforward narrative, the
movie truly excels within its chosen framework. Personally, I initially
hesitated to watch it, battling against a sense of fatigue from 'boys-dominated’
stories saturating the industry lately. So, I approached "Manjummel
Boys" with a mix of curiosity and skepticism and yet, the movie defied my
expectations, pulling me into its story.
To be honest, in the first half-hour of 'Manjummel Boys,' I felt a
tug of disconnection. As a woman watching a group of friends venture off on a
cross-state journey without a secure financial footing, their ease in securing
travel permissions from parents and their carefree pause in the journey,
seemingly oblivious to safety concerns, felt like scenes from a different
world. Yet, I couldn't help but realize that the movie likely resonates in the
opposite manner with men who have long enjoyed such social privileges. For
them, it could evoke nostalgia for simpler times, perhaps even conjuring
memories of their own carefree adventures. This contrast in perspectives adds
an intriguing layer to the film's appeal.
The impact of these divergent reactions is unmistakably
reflected in the staggering success of "Manjummel Boys." It has
achieved a remarkable milestone by becoming the first Malayalam film to surpass
the 200-crore mark, with a worldwide collection of approximately 235 crores,
all against a modest making budget of 20 crore.
Despite the initial hiccups, the film gradually drew me in,
thanks in large part to the stunning cinematography by Shyju Khalid. His
visuals beautifully captured the journey and its events, while Vivek Harshan's
impeccable editing ensured a tight, crisp runtime essential for the movie's
impact.
Picture Courtesy: Trootop
Knowing that the film is based on a true story heightened its
emotional impact, particularly in the gripping final half-hour. Director
Chidambaram skillfully weaves a narrative that transcends mere survival,
portraying the power of friendship and solidarity against adversity. The
incorporation of Kamal Hassan's classic film "Guna" and the iconic
song "Kanmani Anbodu" was a stroke of genius, seamlessly integrated
into the narrative, adding depth and emotion to an already powerful story.
Picture Courtesy: SIVA scripts & cuts
And
let's not forget Sushin's score, which tugs at your heartstrings in all the
right ways and captures the essence of each moment. While "Kanmani
Anbodu" received a well-deserved revival through the film, it's
"Thaai Manam" that remains my personal favorite, closely followed by
"Kuthanthram." On a lighter note, I can't help but boast about
mastering the tongue-twisting lyrics of the first paragraph of Kuthanthram, off
late borderline annoying those around me.
Of course, none of this would work without a talented cast,
and "Manjummel Boys" certainly delivers on that front. Soubin and
Sreenath steal the show with their nuanced performances, while the rest of the
ensemble cast holds their own admirably. Look out for the real life “Manjummel
Boys” make a cameo appearance during a tug of war competition.
Picture Courtesy: Matrubhumi English
But perhaps one of the most impactful moments of all comes
after the credits have rolled, when we're treated to pictures of the real-life
Manjummel Boys. It's a powerful reminder that sometimes, truth really is
stranger—and more inspiring—than fiction.
Picture Courtesy: ACMODASI on Insta
Also, as a side note here is an unpopular opinion, Manjummel
Boys indeed is a compelling narrative of friendship and adventure. However, it
also emphasizes the importance of responsibility and caution during such
journeys. Adventure stories often romanticize the thrill of discovery and the
allure of hidden places, they shouldn't overshadow the genuine risks posed by
nature. Without Kuttan's success, the story could have taken a much darker
turn, echoing the tragic fate of those who fell before Subhash in the
"Devil's Kitchen." It's a poignant reminder that the excitement of
exploration must always be tempered with respect for nature and an
understanding of the potential consequences of our actions. Let's not confuse
bravery with recklessness. Zones marked as dangerous exist for a reason—it's
not about being brave or adventurous to ignore these warnings. So, let's
cherish the spirit of adventure, but let's also approach it with humility and
caution, mindful of the impact our explorations may have on ourselves and the
environments we encounter.
In short, Manjummel Boys is undeniably a must-watch and
stands as one of the finest offerings from Mollywood in 2024. Try and catch the
movie in a theatre near you. Remember to be safe and wear your mask.
Picture Courtesy: Internet
P.S. This film plunges into tight spaces and confined
environments that may induce feelings of claustrophobia in sensitive viewers.
While the film's narrative may captivate, its atmospheric intensity could prove
challenging for those prone to claustrophobic reactions and are advised to
exercise caution while watching, as it may induce discomfort or anxiety.
I am yet to experience a season as resolute in its
determination to usher in joy and merriment, as Christmas. Preparations for the
season commences months in advance, with nature, surroundings, and the bustling
marketing extravaganza all unequivocally signalling its imminent arrival—almost
a quarter of the year beforehand.
It's almost like you're left with no other option but to embrace happiness,
making you wonder whether it's a good thing or a bad thing.
Does it offer a chance for people who are typically downcast to find a glimmer
of happiness, even if fleeting? Or does it, sadly, make those with profoundly
wounded souls feel compelled to shoulder the blame for not being able to join
the world's celebration during this season?
In my 33 years of navigating life's twists and turns, I've found myself on both
ends of the emotional rollercoaster. As a kid, I couldn't help but wonder how
families that seemed on the verge of falling apart somehow pulled themselves
together during festivals. There was this one day – a magical blend of peace, smiles,
and the aroma of good food – when everything felt real, only for chaos to
resume the very next ordinary day. That's why Christmas held a special place in
my heart. The hustle and bustle of preparations, starting almost a month
before, with my grandfather at home, kept the usual chaos at bay, as much as
possible.
It felt like I was stretching a thin thread of happiness,
even if just for a little longer than the single day most festivals offered— an
entire month dedicated to a unique sense of joy every year. The sweet
anticipation built up over those weeks, culminating in a day that made all the preparation
worth it. Sriram Raghavan's latest creation, "Merry Christmas,"
echoed these sentiments for me. Despite knowing that things might be boiling
bad somewhere in the background, the spirit of the season displayed, the
carefully curated settings, and the art of storytelling compels one to fully
immerse oneself and soak in the merriment for those precious, fleeting moments.
Yet, when has this erratic and seemingly malevolent life
ever permitted peace to endure? It's been seven years since the festive cheer
of the same season began to haunt me relentlessly. From the point of being
unable to step out of the house as the anticipation of the season sets in a
month before, to now being able to host a pre-season party well in
advance—indeed, daresay I have made modest strides in gradually liberating
myself from the excruciating cage that life once confined me to.
Picture Courtesy: IMDb
So, when Maria, portrayed with poignant effectiveness by
Katrina, says, "These people might think that we are happy too,
right?" to Albert, played by the always remarkable, Vijay Sethupathy, while
strolling through a festively bedecked Colaba, amidst the joyful clamour of
"Merry Christmas," I couldn't help but feel that familiar ache. It's
the one where you skillfully feign normalcy while navigating through the chaos,
with a body and soul marred by traumas.
Picture Courtesy: Koimoi
The seemingly harmless acquaintances and flirtations between
Maria and Albert extend beyond the surface. Their conversations, though
genuine, carry notably unspoken layers. Behind the facade of easy banter many
truths are fiercely guarded by both the characters— one trying to protect
newfound freedom, the other desperately seeking liberation. At the core of the
movie there's an earnest need for a delicate yet potent portrayal of emotions,
and Katrina Kaif and Vijay Sethupathy rise to the occasion, making their
performance feel like a heartfelt conversation, resonating with the
authenticity of human experience.
Picture Courtesy: IMDb
Aanand L. Rai, with "Zero,"
uncovered a raw, unfiltered side of Katrina Kaif, which stood out as the sole
silver lining in the latter part of that film. After a significant break,
Sriram skillfully taps into that deep, human essence in Katrina through Maria, and
she delivers with brilliance.
Picture Courtesy: IMDb
Vijay, renowned for his acting finesse, brings Albert to
life with a delightful mix of sweetness and nuanced hesitancy, effortlessly
capturing the audience's hearts. Following a succession of villainous roles,
his return to the sweet, relatable, yet intricately dark character of Albert
feels like a welcome breath of fresh air—a truly refreshing and heartwarming
experience.
Crafted from Frédéric Dard's 'Le Monte-charge,' the film
weaves a compelling and intriguing storyline, that captivates the audience, for
the majority of its duration. While there are moments that may prompt
questioning of the necessity of certain dull interludes, stay with those moments
and later you'll find the film's allure unfold, making it a truly engaging
cinematic journey. As someone who's enchanted by the old-world charm of the
city, the moment the screen paused to declare 'Mumbai when it was Bombay,' I
knew I was going to fall in love with the movie. The cinematography by M.
Neelakandan is nothing short of brilliant, seamlessly weaving into the tapestry
of Easter eggs that Sriram's narratives are known for. For cinephiles and
melophiles alike, this movie is a true delight. References from classic Bollywood
movies and Western classical music play roles as significant as any character
in the film.
Picture Courtesy: IMDb
The carefully curated background music by Daniel B. George,
heavily influenced by Western classical music, takes you on a journey through hope,
romance, despair, and sheer bewilderment. Pritam's album fits into the
narrative like the final piece of a puzzle, creating a harmonious blend.
"Raat Akeli Thi," written by the talented Varun Grover, stands out as
my favorite and has been on a loop since I watched the movie. The film, with
its enchanting visuals and soulful music, is a heartfelt experience for anyone
who cherishes the magic of storytelling and the magic of melodies.
"Merry Christmas" for me, encapsulates the essence
of life and its seasons of joy perfectly. You yearn to be joyful, or at the
very least, pretend to be, yet life's looming traumas deny the luxury of
sustaining that façade indefinitely. Inevitably, reality intrudes, and if
you're fortunate, you manage to gather some moments of love and hope along the
way.
On the night of Albert's return to Bombay, his friendly
neighbor, played by Tinnu Anand, hands him a bottle of homemade wine named
"Yadhoom." He proudly claims to have invented the term, asserting
that it's meant to capture the essence of that moment in life when everything
falls into place, when life starts to make sense. Perhaps, with "Merry
Christmas," that's precisely what one should do—take the time, savor the
narrative like a fine wine, and patiently await your "Yadhoom” and just
like a finely aged batch of wine, it won't disappoint you.
Picture Courtesy: IMDb
Try and catch the movie in a theatre near you. Remember to
be safe and wear your mask.
To those
who've inquired about my thoughts on God over the past six years since my
transition into agnosticism, my response has remained consistent: "If God
conforms to the description provided by those who seem to consider themselves
as his managers, it would be in his best interest to remain non-existent. The
magnitude of suffering attributed to him is beyond any conceivable
redemption."
Picture Courtesy: Atomic bombings of Hiroshima and Nagasaki - Wikipedia
This stance,
I believe, extends to individuals who arrogate unto themselves the role of
"playing God."
I read couple of recent articles which shed light on how the
Oppenheimer movie not only stands as a masterpiece of technical cinema but also
functions as a vehicle for Westernized whitewashing; that the film seemingly
seeks to humanize the man behind the most devastating weapon ever created. While I
acknowledge and concur with this assertion, on a personal level, Julius
Robert Oppenheimer as a character never elicited any trace of sympathy
from me throughout the duration of the movie. Rather, the cinematic portrayal
of Oppenheimer merely intensified my perception of him as an embodiment of
excessive brilliance marred by inherent flaws. To me, Oppenheimer became more
of a cautionary symbol, underscoring the unsettling truth that a vast
proportion of highly intelligent or extraordinarily gifted individuals often
harbor repugnant and reprehensible traits, with only a scant few exceptions.
Picture Courtesy: Cape Cinema
Christopher
Nolan's 'Oppenheimer' is a technical marvel that showcases his signature mastery
in filmmaking. Despite its unsettling subject matter—a chilling exploration of
the creation of a weapon of mass destruction and the deeply complex mind driving
it—Nolan's directorial prowess shines through. The movie's remarkable visual
spectacles, intricate storytelling, and meticulous attention to detail attest
to Nolan's ability to elevate any narrative. 'Oppenheimer' stands as a
testament to Nolan's skill in creating cinematic brilliance, even when
grappling with the darker aspects of history and human ingenuity.
In
'Oppenheimer,' Christopher Nolan delivers an auditory experience of remarkable
depth and resonance through the incredible sound design by Richard King
& Willie D. Burton and music composed by Ludwig Göransson. The
meticulous attention to soundscapes immerses the audience in the tension and
complexity of the narrative, enhancing the emotional impact of every scene.
The casting of "Oppenheimer" stands
as a stroke of brilliance, creating a perfect ensemble that embodies the
characters with depth and authenticity. Cillian Murphy's nuanced portrayal
captures the intricate layers of Oppenheimer's persona, while Robert Downey
Jr.'s charismatic presence adds a magnetic allure to his role. Meanwhile, Matt
Damon's performance injects the narrative with a compelling intensity that
further elevates the film's impact. Together, their talents converge to form a
cinematic experience that's nothing short of extraordinary.
Picture Courtesy: The Independent
‘Women of Oppenheimer’
is a subject of ongoing criticism. The
women associated with Oppenheimer, both in real life and as depicted in the
film, certainly possess profound intellect and captivating qualities. This
holds true for the actresses who portray them, like Emily Blunt embodying
Kitty, a biologist and botanist, and Florence Pugh portraying Jean Tatlock, a
psychiatrist and Oppenheimer's former lover. Yet, their professional identities
often remain obscure to the average viewer, unless one possesses prior
knowledge before or after watching the movie. Despite contributing to diverse
dimensions of the central characters, Nolan's films frequently fall short in
sufficiently developing the arcs of these remarkable female figures. The women
surrounding Oppenheimer were undoubtedly constrained by societal norms, but
whether Nolan's portrayal reflects period-accurate limitations or his own
disinterest in multifaceted female representation remains an important point
for discussion and is a recurring concern across his filmography.
Despite his
repeated assertion that "Oppenheimer" doesn't contain CGI shots, it
does involve digital visual effects led by the studio DNEG. Christopher Nolan's
filmmaking often integrates CGI to primarily to enhance captured elements. This
includes subtle "invisible VFX" blending with the film's period
setting discreetly. While these effects often remain hidden, they work to
authenticate the film's period setting without overshadowing the storytelling—a
departure from the flashier CGI of super hero action films. Nolan's inclination
for practical effects remains strong, resulting in a visual marvel that defies
norms. The marriage of meticulous set design, practical effects, and inventive
camerawork forges an authentic and tangible cinematic encounter.
"Oppenheimer" attests to Nolan's artistry in crafting visually
stunning scenes while upholding realism, a testament to his unique directorial
finesse.
Picture Courtesy: Aftermath of Hiroshima and Nagasaki bombings - ICAN
Lastly, should
any admiration linger for the atomic bomb's creation, its architect, or
governments deeming it a necessary evil, consider this: 226,000 lives were lost
in the first atomic blast, and 2,056 subsequent tests, both underground and
atmospheric continue to scar the environment. Disrupted ecosystems, released
radioactivity, altered soils, and biodiversity shadows testify to nuclear
weapons' far-reaching impact. Currently, the unpalatable truth stands that the
USA, Russia, the UK, France, China, India, Pakistan, and Israel collectively
wield an arsenal of roughly 19,000 nuclear weapons. The glorification of
intellect and talent should never blind us to the darker aspects of human
nature that can accompany such attributes. It is imperative that we perceive
and criticize these shortcomings, even when cloaked in brilliance, as they bear
an equal weight in shaping the course of history.
Beyond the lives lost, Oppenheimer and his creation stand as a stark reminder
of humanity's relentless quest for power and dominance, often exacting an
unimaginable toll on both human lives and nature.
"Oppenheimer"
is now playing in theatres near you. For the full impact of its technical
brilliance, consider catching the movie in an IMAX.”
Having a
celebrity crush on Barun Sobti won't be enough to endure the terrible pain that
this new series is from Ekta Kapoor Universe. She has been running this formula for ages
of cobbling together a half-baked, or should I say, hardly baked storyline, mix
in a sprinkle of star power, add a pinch of random plot twists, and voila! You
have yourself a series ready to hit the screens. Who needs a well-crafted
narrative or compelling character development when you can rely on the allure
of celebrity names to carry the show? It's the recipe for instant success, or
at least that's what they want us to believe.
The series written
by Ritu Bhatia rehashes the tired and harmful trope that portrays healthier
relationship traits as mundane while glorifying toxic traits as alluring,
suggesting that these dynamics make a relationship captivating. It's
disheartening to see yet another iteration of this clichéd narrative, which
fails to recognize the importance of mutual respect, emotional well-being, and
healthy communication in relationships.
Picture Courtesy: Latestly
It seems
someone convinced Ekta and Ritu, that it's crucial to showcase progressiveness,
especially on OTT platforms. With Badtameez Dil, it's painfully clear that they
are making an excessive effort to pretend they care about topics they got zero
interest or knowledge in. In this misguided attempt, Ritu Bhatia managed to
leave no sensitive topic untouched, wielding her butcher knife of ignorance on
topics from LGBTQIA+ relationships to abusive marriages. It's a spectacle of
ignorance and insincerity, as she stumbles through these delicate matters,
leaving behind a trail of mishandled narratives and missed opportunities for
genuine exploration. It's quite evident that authenticity
and genuine engagement are taking a backseat while she attempts to check the
boxes of social relevance.
Not a single
character or situation is allowed the luxury of taking a breath, resulting in
the haphazard shaping of characters. Their transformations, whether for better
or worse, occur abruptly, without any proper explanation, leaving the audience
bewildered and unintentionally amused. It's as if the writers were in such a
rush that they skipped over crucial development, making the whole experience
feel like a comedic farce rather than a genuine narrative.
Picture Courtesy: Twitter
The series
relies heavily on the enchantment of Barun Sobti and the mesmerizing sparkle of
Ridhi Dogra to desperately salvage what little remains of its credibility. Given
their captivating portrayals in the gripping thriller series Asur, it's
undeniable that Barun and Ridhi showcased their talent and remarkable onscreen
chemistry. It's a shame that their skills were squandered on a lackluster
narrative that failed to do justice to their abilities. They deserved a far
more engaging and compelling story to showcase their talents, one that would
have truly allowed their potential to shine.
Picture Courtesy: Youtube
Thankfully, Mallika Dua shines as
the only sensible character with a distinct personality amidst the chaotic mess
of the story. It is in one of Mallika's desperately needed reality checks that
the series manages to deliver a truly memorable scene, a rare moment of clarity
in an otherwise forgettable narrative.
In a
desperate bid to elicit emotions from the audience, the series resorts to an
excessive overdose of background music and recurring parts of the soundtrack.
Unfortunately, what was intended to be a stirring accompaniment soon becomes a
tedious and monotonous barrage on the senses. Perhaps, these songs thrive
independently, but here, they serve as an unwelcome reminder of the series'
overindulgence and the price we pay for its misplaced attempts at emotional
manipulation.
The series
wraps up with an open-ended finale, hinting at the possibility of multiple
seasons to come. For those of us who endured this disappointment, let's hope
against hope that they don't subject us to any more of this mediocrity, or at
the very least, if they dare to continue, they do so with a significant upgrade
in quality. All things considered; this series was nothing short of a letdown.
Picture Courtesy: Mid.Day
But hey, if you happen to share my peculiar blend of nostalgia-infused
celebrity infatuation for Barun and an excessive surplus of free time, then
maybe, just maybe, this could be a passable option for your entertainment.
You can
watch the series on Amazon Mini TV on your Amazon shopping App.
I
am a huge fan of creators who doesn’t spoon-feed, rather leave interesting
concepts open to audiences’ interpretation, trusting their intelligence and
experiences. That’s the reason why I became an enthusiast of Lijo Jose
Pellissery’s movies from Nayakan, probably his least popular movie. His ability
to merge large groups of people so seamlessly into the story on screen and draw
the audience into the world, is one of the trademarks of his creations. I
always felt that LJP, held incredible creative prowess to turn any actor to
showcase their organic best performance, within his artistic world, curated
with precision.
Add
to that an actor who is ageing like fine wine, the man who is winning hearts
with his ingenious selection of roles, that challenges his craft, Mammootty. I
have to admit, growing up I have never been a fan of the actor except for some
selective roles. Once you are old enough to understand the world of cinema,
your perspective changes, but alas by then, two of my favourite stars fell into
a creative ditch from where, there seemed no return. That was a point I went
back and appreciated their old movies, which seemed to be the only solace for
admirers of the actors. I had a curated list of my favourite movies of Mammootty
namely Kanamarayathu, Mathilukal, Thalapathy, Amaram, Bhoothakannadi, Paleri
Manikyam, Ore Kadal, Pranchiyettan and the Saint, Rajamanikyam and Big B.
Although
Mammootty did surprise me once in a while with Munnariyippu, Peranbu or Unda,
both him and his contemporary, Mohanlal, whom I used to admire, seemed to be
drowning in largely mediocre projects, which also seemed to be a slump phase
even for Malayalam cinema to be frank. Post 2010, Malayalam cinema slowly but
steadily started reviving itself, but newer actors had the major role to play
in that rising, while experienced actors seemed to stick with tried and tested but
middling projects.
Picture Courtesy: IMDb
Post-
Covid, the way Mammootty, re-established himself an actor, capable and open to re-inventing
himself through experimental projects and most importantly keeping up to the
changing society, is nothing short of a brilliant case study in being a true
actor. While LJP was already a creator, films of whom I will blindly go in to
watch and have always had a brilliant experience; off late, Mammootty joined
that category too. It was only natural that when these two gems come together,
the output would be nothing short of a treat.
Picture Courtesy: Youtube
Nanpakal
Nerathu Mayakkam (Mid-day Slumber) is everything you expect out of such a
versatile combination and more. Surprising his own audience, LJP has taken a
departure from the frantic rhythm that we have learned to associate with his
past few movies and makes us to pause and savour moments. In the world of 30
seconds reels, Nanpakal Nerathu Mayakkam will make you take a deep breath and
reflect, which come to think of it, can work in favour and against the film. The
factors that stay true to the creator’s legacy are the elements that makes his
movies always about the characters and their impact, turning it into a mood than
a precise story.
Nanpakal
Nerathu Mayakkam can be interpreted as a story based on a weird incident, a
hallucinating dream that’s often associated with a mid-afternoon slumber, a way
of closure to stories unfinished or as an in-depth satiric take on how humanity
alters based on circumstances. As weird as the plot of the incident is, the
characters created huge impact on my thought processes throughout the film.
While the movie is loosely tied together in a light, comedic tone, if you let yourself
sink into it, you will get much to think about, long after you leave the theatre.
Picture Courtesy: Men'sWorld Online
The
man who astonished his audience with some of the longest yet spectacular shots,
proves that he can create just the same magic through static frames giving us
impactful metaphors throughout. On this note, credit must be given to S Hareesh’s
screenplay and Theni Eswar’s cinematography, that plays the quintessential role
in creating captivatingly, the world that LJP envisioned. Simple yet impactful
frames will transport you to Jame’s and Sundaram’s life effortlessly. Look out
for a brilliant shot under the light and shade in the same frame depicting the
helplessness of both families stuck in an unprecedented yet deeply painful predicament.
On the technical front, credit must also be given to editor, Deepu. S. Joseph, who
gives the story it’s finesse and also as a cherry on the cake, barring any
added background music seamlessly incorporates old Tamil songs into the film as
a part of the narration.
Picture Courtesy: Youtube
As
usual, LJP also has brought together a stellar cast of supporting actors who are
underrated yet familiar faces to anyone accustomed to Malayalam and Tamil movie
industries and culture. Who knew we
would get to see Ashokan in a memorable role after so long, and it was great to
see, T Suresh Babu (Father-In- Law from The Great Indian Kitchen) back on screen
too along with the familiar talents like G.M. Kumar and Namo Narayana from
Tamil Industry. The immediate family, Ramya Suvi as Sally (Jame’s Wife) and
Ramya Pandian as Poovally (Sundaram’s wife) also deserves praise as perfectly
depicting the lives of two women who had to watch their life turn upside down
one afternoon, clueless how to respond to such an unimaginable quandary.
Picture Courtesy: Youtube
The
best treat obviously amidst the cast was indeed seeing Mammootty exhibiting his
talent as a performer so brilliantly. His transition between two extremely
different characters, the confusion and pain of being himself yet somehow
unidentifiable is a masterclass in performance.
Picture Courtesy: The Indian Express
Is
Nanpakal Nerathu Mayakkam, the story of a group of people accidentally entering
a different timeline? Is it just a dream that James goes through? Is it short
spell of an unexplainable mental health disorder that James underwent? Is it a
superstitious possession? Or is it a real-life depiction of the Thirukkural
verse that’s explained in the movie, “உறங்குவதுபோலுஞ்சாக்காடுஉறங்கிவிழிப்பதுபோலும்பிறப்பு” (‘Uranguvuthu polum Saakkadu, Urangi
Vizhippathupolum Pirappu’)- “To sleep is to die, and to wake up from sleep is
birth”?
Explore
for yourself, your guess will be as good as anyone’s; you will find indicators
supporting and conflicting each of your theories. That in one word is what we
all so fondly would like to call, “the LJP Brilliance”.
P.S. Wait for the credit roll at the end to see some old pictures
from Thilakan and Jose Pellissery’s theatre days.
Catch
the movie soon at a theatre near you. Remember to wear a mask and be safe.
Despite growing up watching Mani Ratnam movies for over a
decade this is the first time I am writing about one of his movies, so this
piece will be a review of the movie Ponniyin Selvan Part-1 along with an
opinion piece of a blindfolded fangirl turned critique of Mani Ratnam film
universe. (10 minutes Read)
Ponniyin Selvan
Picture Courtesy: book.ponniyinselvan.in
Kalki’s literary magnum opus ‘Ponniyin Selvan’ has been an elusive
passion project of many filmmakers for decades. Divided in 5 parts, Kalki
created a historic novel that spoke of power, betrayal, love, revenge, all set
in the period of Chola reign. Through an amalgamation of history and
imagination, Ponniyin Selvan, garnered a cult following ever since the 1950s,
when a series by the same name was written by ‘Kalki’ Krishnamurthy and
published in the Tamil magazine ‘Kalki’. For over half a century people
especially in Tamil Nadu have grown up listening to stories from Ponniyin
Selvan and for obvious reasons. From my comparatively recent dive into its
world, I could see how it is indeed a captivating narrative exploring
various emotions in the backdrop of wars and the world of royal inscrutabilities.
Mani Ratnam’s Ponniyin Selvan
Picture Courtesy: Youtube
It’s a herculean task to summarize a 5-book novel
to two movies and that is the strength and weakness of the movie. Mostly
staying true to its origin content, the screenplay manages to capture
beautifully the gist of the story. At the same time when you squeeze together
content good enough to make a 5-part movie or a series, the compromises made
along the way becomes too obvious and only whiffs of its actual essence is
felt. Even then, call it the vision of an experienced director or the
sensibility of the original content by Kalki, it was refreshing to watch a
period movie that didn’t solely relied on hypermasculinity and technical
prowess. Ponniyin Selvan’s tempestuous narrative demands passionate
performances unlike the current “PAN India Movie” charade propagating toxic
masculinity and muscle porn.
Watch the official trailer of PS-1
No matter what opinions one has about Mani Ratnam, it’s
undisputable that the man has his own unique style of film making and a peculiar
visual sense, which has resulted in what we can call paradigmatic movies
throughout industries. His movies are known for its iconic shots, experiments with genres and he is famous for his enthusiasm to materialize
his visions, painstakingly accurate. I mean way back in the 90s, the man broke the barrier between
south and north film industry and was someone who introduced many unique
aspects to Indian cinema whether it is popularizing editing feature like jump
cuts or be the musical maestro himself, AR Rahman.
Picture Courtesy: Youtube
Ponniyin Selvan’s strength is indeed this vision of Mani
Ratnam, the way he has shot scenes and conveyed complex emotions in the absence
of dialogues is just a masterclass for any aspiring filmmaker. Nuances of
character traits are stunningly captured, narrating much more about a role which
becomes an exquisite factor as well as a clever addition to a screenplay which has
to tell an extensive story. Just like in every one of his movies, he has
experimented with various elements within Ponniyin Selvan and most of it has
panned out successfully while one of his attempts might have failed to impress
many.
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I loved how the whole Chola song was captured, panning from various angles to Vikram’s emotions or how the memory of what happened between Nandini,
Veerapandiyan and Adithan was presented in fractions and from various
perspectives. At the same time, while I understand the effort of capturing war
scenes in a realistic way, camera mostly moving along with the characters, on-screen it was kind of unimpressive.
Picture Courtesy: Youtube
Granted that the stylized way of how we are
used to see the chaos amidst a war is not the reality, but watching the realistic
portrayal made me feel, that maybe it was captured the other way for a reason. The constant
cuts and change of angles ultimately made it difficult to focus on the scene. That
is probably the only place where I wanted someone like Santosh Shivan to
capture the scene with a technical prowess unique to him. While it’s a positive
step that there are more ‘multi-star’ collaborations coming out, possibly in
some future this blend of talents can happen behind the screen too.
Director’s Actors
Picture Courtesy: Suryan FM
Pairing of certain actors and directors are sure shot success
formulas, as they bring out the best in each other, resulting in memorable
characters and narratives. Despite all of my criticism against Mani Ratnam, it
is true that the man also possesses a unique ability to churn out the exact
performance required from his actors. No matter what issues I have with the
aspects of the narratives he told, I cannot imagine any character from his
movies being played by a different actor, until 2013.
His actors etched out performances
so well that it felt like that particular actor was born to do that role; Divya
from 'Mouna Ragam' will always be Revathy, Velu Naicker from 'Nayakan' be Kamal Haasan,
Pushpa from 'Iruvar' be Aishwarya Rai and so will Tara from 'OK Kanmani' be always
Nithya Menen. Yet, after the underwhelming ‘Kadal’ and absolutely horrific ‘Kaatru
Veliyidai’ that belief almost vanished. With Ponniyin Selvan, you can find that
lost aspect of the director return, not in its full form yet impactful. Will it
stay, is a question for another day but what made me happy was his come back also
recreated the magic with his actors.
Picture Courtesy: Youtube
After watching almost all the leading actors in
the movie, playing various underwhelming roles in a row now for years, it was a
joy to watch them display such strong performances. The best example in that
category is Karthi, who I believe is a director’s actor, as his most memorable
performances were with directors Selvaraghavan (Aayirathil Oruvan- my personal
favourite), PA Ranjith (Madras), Paruthiveeran (Ameer Sultan) and Kaithi
(Lokesh Kanagaraj). But when I heard him collaborating with Mani Ratnam,
unfortunately all I felt was the trauma that I had to endure watching ‘Kaatru
Veliyidai’. Before that, as an actor although I haven’t been a fangirl of
Karthi, I always admired his potential in the above-mentioned movies, but I
never took him for a bad one until I saw him as Varun Chakrapani aka VC. Apart
from the fact that VC as a character is deplorable to core and screenplay was a
total failure, somehow Karthi’s acting in that movie was just appalling.
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Cut to PS-1, as Vanthiyathevan he outshined everyone in the meatiest
role. After his strongest performance as Muthu in Aayirathil Oruvan, again coincidently
inspired by Vanthiyathevan Vallavarayan as per director Selvaraghavan, I could see
a solid performance from him. Vanthiyathevan
is clever, on-his-toes, flirtatious all while being regal and Karthi did
complete justice to the role swiftly moving from the wide-eyed curiosity of a
wanderer to a momentary twitch of pain when reminded of the history of his
people. Another perfect choice to this aspect is Trisha Krishnan who got a role she
deserved after a long while, possibly after her brilliant performance in Kodi, where she
got to explore deep into her talent, beyond the charming heroine roles, she was usually type casted to.
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Same is the case with each and every actor in the movie,
whether it be Jayam Ravi who surprises us with a valiant performance as Arunmozhi
Varman aka Ponniyin Selvan, the conscientious younger son of Chola King,
Picture Courtesy: Youtube
Vikram
as Adithan aka Aditha Karikalan, the heartbroken elder son who self-exiles to the
duty of conquering and expanding the kingdom or Poonguzhali played by Aishwarya
Lekshmi, the fisherwoman who doubles up as a saviour to the young king.
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I don’t
remember the last time I watched Jayaram in something impactful but in PS-1, as
Nambi, he reminded us of the talented actor he used to be. I guess, Tamil
industry is proving a better platform for both father and son.
Women in Mani Ratnam Movies
Picture Courtesy: JFW
One of the other revered aspects about Mani Ratnam movies is
his portrayal of women characters. I have heard multiple actresses wishing to
be captured as a Mani Ratnam heroine and deservedly so, as his heroines
consistently possessed a strong personality and are free spirited while being
vulnerable and loving (until 2017). His female characters always had a visible
job or passion and were determined along with the other requisites of
the narrative which is normally how it’s supposed to be but unfortunately, the contrasting
reality makes it indeed a quintessential part of his filmography.
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Even in PS-1,
the narrative indeed is set in a man’s world, but the woman are not mere pawns
or love interests. In fact, they steer the core emotions, changing the course
of history with their power and beauty. I believe this is a movie where he has intensely
explored the grey shades of his female characters rendering such powerful characters on -screen.
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As Kundavai, Trisha shines as the young princess of Chola Kingdom, who is decisive, intelligent and well-versed in the royal politics and her kingdom. While being
all that, she is shrewdly against a non-royal succession to her dynasty, an
aspect which will get explored more in the later part. Nonetheless Kundavai is kind and sensitive but equally an active part of royal inconspicuous strategies. The way how she
creates a ruckus amidst the ministers who are conspiring against the kingdom is
Kundavai at her best.
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Nandini, one of the extremely important characters and is as
described in the story “the most beautiful woman on earth” is portrayed
elegantly by none other than Aishwarya Rai. Just like Karthi, I believe some of her
best performances, have always been with Mani Ratnam and in PS-1, the belief stands.
Nandini is complex inwardly, but maintains a composed exterior, while brewing
storm around her. She uses her beauty to seduce men in power initially for
survival and then to avenge. She is wounded but not volatile, her plans for
revenge are set, but she also is ambitious to a stature, she was denied just
because of her background.
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The split scenes before and after the meeting of Periya
Pazhuvettariyar (Sarath Kumar) and Sundara Cholan (Prakash Raj), shows
precisely her intentions; her eyes that steers towards the throne, speak of a
longing and pain that spans over decades, while the closing of the scene, where
the throne merges to her stature, is just storytelling marvel.
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AR Rahman & Mani Ratnam
Picture Courtesy: Youtube
I have mentioned this countless times, that I learned Tamil for
understanding the lyrics of the impossibly soulful songs created by AR Rahman.
I never believe any human to be divine but he is one person, I believe is
bestowed with a celestial talent for music. Yes and of course I believe his
best works were his early creations where even if the movie was underwhelming, it
still was remembered for AR Rahman’s music. Many of such impactful songs were
also a part of the Mani Ratnam - AR Rahman movies.
In the same combination, Ponniyin Selvan Part 1 music does
flawlessly compliment the narrative. I have always been a fan of how both of
them, seamlessly let the music fade in and out through scenes, mixing sound
effects and dialogues and that pattern continues here too. The background music
perfectly uplifts the scenes when required, like Kundavai’s and Nandini’s face
off or the fight sequence between Vanthiyathevan and Arunmozhi Varman. From the
soundtrack, my favourite is ‘Devaralan Attam' sung by Yogi Shekar, a great score
that will enchant you, all while describing the fervor of sacrifice, tales of
destruction caused and enmity provoked, leading to the impending doom of the
kingdom. ‘Alaikadal’ follows closely, a melancholically musical melody with a touch
of yesteryear boat songs sung by Antara Nandy.
Mani Ratnam- The master propagator of dangerous art
Picture Courtesy: Youtube
There is only up to a certain age or sensibility, where one
can see movies as just that; One, because of the realities you witness with age
and Second, because more than anyone else, the creators themselves holds true
to certain agendas. More than anything else being a reviewer, you recognize the
power of art from a whole different perspective and its impacts. Growing up,
unaware of the backdrop of his projects, I have been a fangirl of the director Mani
Ratnam for decades. That veil dropped when in 2017, he created the dreadful
“Kaatru Veliyidai”; yup, too late, but better late than never. Mani Ratnam, the
man who is lauded to capture the essence of romance in every decade, so
aggressively tried to sell misogyny, manipulation and abuse as love, making the
movie one of the worst on-screen romances ever. Knowing what I know now, it
almost felt like he didn’t even attempt to hide the problematic narrative
beyond for the music and visuals. That is when I started to distance myself and
look at his movies beyond, as a critique.
Initial observations itself were shocking with
the recurring occurrence of themes in favor of hyper nationalism that cloaks
itself as righteous patriotism and the schooling and ‘secularizing’ the Muslims
in the country to make them palatable for the predominantly Hindu masses.
Sounds familiar to something that’s already rooted in the current scenarios of
the country? Have a look at his movies beyond its beauty and romantic angles. From
his ‘balanced approach’ during the ‘Bombay Riots of 1992’ to erasure of the
anti-caste characteristics of the Dravidian movement, you will find tons of
such convictions packed well and peddled to the audience. It was borderline sad
to see how many aspects were twisted and presented for years yet a cult
following allowed no criticism to pass beyond a threshold. While, he continued
to propagate his affinity towards Brahmin-Savarna unions, force fitting mythological
narratives to existing minorities and even crossing borders to appropriate Sinhalese
nationalism where he villainized only Tamil Elam movement conveniently veiling Sinhalese
fascism or the oppressing role of the Sri Lankan army.
May be the only nearly good thing about the outright fascist propaganda
movies like Kashmir Files and such is that it’s visibly easier to call-out
facts and propaganda. Creators like Mani Ratnam peddles such ideas in a more
subtle manner, wrapping it behind beautiful visuals and soulful music. I
am well aware that these aspects of his film-making are not going to change, especially
in the current scenarios but the least we could do is, as audience be aware and
learn more, to recognize such subtle promotions of agendas. Understand and move
beyond the baseless argument that movies are ‘just’ an entertainment medium,
they have potential to influence masses and condition them towards or against
anything, if done well and constantly.
My journey to understand and corroborate all this was also
hugely supported by possibly the only article critiquing Mani Ratnam online on
Huffpost Archive by Rajesh Rajamani.
Chola Reign & Kalki’s Interpretation
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History as we learned from our education system offer little
to learn about ancient kingdoms from South India like the Chola empire. For
that one reason alone, movies like PS-1 deserves to be watched as it justifiably
gives as a peek into the history, art and architecture, of such dynasties, thus
generating curiosity and discussions, changing the way one sees the past.
The Chola Dynasty was a Tamil thalassocratic (a state with
primarily maritime realms or a seaborne empire) empire of southern India and
one of the longest-ruling dynasties in world history. Chola dynasty ruled from
850 to 1279 AD for more than 1500 years. At its height, the Chola Empire
controlled not only southern India and Sri Lanka, but also the Maldives. It
took key maritime trading posts from the Srivijaya Empire in what is now
Indonesia, enabling a rich cultural transfusion in both directions, and sent
diplomatic and trading missions to China's Song Dynasty (960 - 1279 CE).
It's no secret that popular narratives or history, from ages
are more often than not, the version of the winner or simply who held the power.
Kalki places his fictional storyline in the historical reign of Cholas sourcing
from historians like Nilakanda Sastry and Sadasiva Pandarathar, yet one cannot
ignore the purposeful glorification of the kingdom, conveniently ignoring the
darker stages especially of the later Chola period. From slavery for
constructions, caste hierarchy, heavy agrarian taxes to atrocities by power
holders, all that eventually lead to the fall of Chola kingdom and rise of Pandyan
dynasty, are blissfully absent. Granted the creative liberty of Kalki in
creating a fictional novel but as audience I believe it is also important for
us to know both sides of the history.
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Try and catch the movie in a theatre near you. Remember to be safe and wear your mask.
