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.
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.
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.
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.
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.
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.
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, “உறங்கு வதுபோலுஞ் சாக்காடு உறங்கி விழிப்பது போலும் பிறப்பு” (‘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.
