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Malik Movie Review: Stirring, immaculately staged epic

Rating: ( 4 / 5)

There is a lot of information to process in Malik . In some instances, we are shown things just for a brief period — enough to give us an idea of what's happening — without needlessly stretching it. This is, after all, the creation of a master editor who is known to make editing decisions in the writing stage itself. And for a film that runs close to three hours, director Mahesh Narayanan employs crisp editing to keep things running smoothly. The film moves as fast as any of Christopher Nolan's big epics. Every frame in Malik pulsates with nervous energy, even in its tranquil moments. We get a tangible sense of the turbulent history of its real-life inspirations, be it the characters or setting. It's impossible to predict the timing of the jolts. An undercurrent of menace pervades the entire film. 

Director: Mahesh Narayanan

Cast: Fahadh Faasil, Nimisha Sajayan, Vinay Forrt, Joju George

Streaming on: Amazon Prime Video

Mahesh and cinematographer Sanu John Varghese (who recently made his directorial debut with the graceful satire, Aarkkariyam ) establish the tone right from the skillfully executed single-take opening sequence at Sulaiman Malik's (Fahadh Faasil) mansion and maintain the tumultuous mood through the splendidly cross-cut violence in its closing moments. There is a great sense of urgency established in these segments through meticulous staging that makes the distance between each character seem shorter, even though they are mentally apart.

A meeting is about to take place as the film opens. Family members and outsiders throng the place. It's evocative of the wedding sequence in The Godfather , where Marlon Brando is listening to the troubles of each well-wisher. But Sulaiman is not in the midst of a wedding. He is about to go on a pilgrimage. It's a special occasion, but one that's rife with peril. Much like Vito Corleone, Sulaiman appears soft and vulnerable on the surface, but his words carry much power. The meeting doesn't end well. There is an air of disquiet.

The first twenty minutes establish Sulaiman as someone both powerful and vulnerable. Someone describes him as a dangerous threat. He is wanted not only by law enforcement officials (multiple acts, including TADA, are mentioned) but also by those looking to eliminate him for the "greater good". What made him such a despicable figure in the eyes of many? Mahesh uses the rest of the film's runtime to unravel the truths. For this, he brings in yesteryear Malayalam star, Jalaja (of KG George's Yavanika -fame), to essay Sulaiman's mother. His reaction upon being told about her arrival at a particular place, I won't say where, makes one say that iconic Star Wars line, "I sense a great disturbance in the force." If I have to use a reference from Malayalam cinema to convey the mood of this situation, it would be the fractured father-son films starring Mohanlal and Thilakan. You know, the ones where the parent wishes they hadn't spawned such a child? 

Interestingly, Mahesh doesn't rely solely on the mother to recount the economically narrated flashbacks. He also uses the perspective of another pivotal character, which I found to be quite refreshing. It's better than lingering on just one voice. There is an image that Sulaiman has of himself, and there is everyone else's image of him. Some believe he did some terrible things, while others don't. Allies, potential allies, and foes flank him. It's impossible to tell who is going to turn and when. Malik is an influential figure who has done so much for his people, but who are his true allies? Will they show up on time? The chaos makes him look like a sheep amongst wolves.

The flashbacks begin as a Godfather II -style gangster drama replete with smuggling, betrayal, and a brutal act of violence. That last event sets off a chain of distasteful events amidst two hitherto harmonious communities - Muslim and Christian - with far-reaching consequences. Yes, the names of the places are fictional, but there is no mistaking the real-world parallels, such as the infamous Beemapally police firing incident. At one point, Angamaly Diaries actor Appani Sarath makes a brief but notable appearance as a character named after an accused from the original case files. But Malik isn't woven around a single incident. One could also draw parallels to everything that has been happening in Lakshadweep lately. Malik is a film seething with rage, much of it directed at anyone taking advantage of the weakness in members of both communities to turn friends and brothers against each other. Even a natural disaster is included in a mudslinging exercise by an unsavoury character.

One of the strongest principal characters in the film is David (Vinay Forrt), who broke ties with Sulaiman long ago. You could say he is the 'David' to Sulaiman's 'Goliath'. His naivete and unpredictability brought to mind some memorable characters from Priyadarshan's early gangster movies in Malayalam. (Speaking of, the overall time-hopping structure of Malik and age transitions are also reminiscent of the maverick filmmaker's 1991 film, Advaitham , which also revolved around communal tension.) David is easily Vinay's most memorable character since that Sub-Inspector he essayed in Kismath .

If I were to mention a minor shortcoming, it would be the half-convincing old age portions. Yes, Fahadh and Nimisha convey the maturity of their characters beautifully, but there were also moments where they looked like thirty-year-olds dressed up as middle-aged folk for a costume party. Also, as much as I liked some of the character arcs in the film, I couldn't help but wonder whether all of their motivations were strong enough to warrant intense animosity towards Malik. Yes, he has done some terrible things, but there is the nagging feeling that the supporting characters are overreacting. Maybe that's the point. Can we see this film as a statement on unwarranted cancel culture? How everyone needs to think more than twice before making regrettable decisions that could backfire later? One of the film's most impressive aspects is a Vadakkan Veeragadha -style intergenerational conflict that makes you question, once the end credits begin, whether Malik was the real hero of the story or someone else. There is a brilliant redemption arc you don't see coming. The bittersweet ending carries much poignancy.

In terms of scale, Malik is the biggest Malayalam film since Lucifer . We don't get to see something of this magnitude enough in Malayalam cinema these days. We got a lot of them in the 80s and 90s, but rarely today. I've heard that some significant portions had the help of CGI. So far, I have only spotted one instance. Everything else looked stunningly seamless. 

I don't think one review can fit everything I want to say about Malik right now. I'm sure I'll discover new things on repeat viewings. Yes, this is that kind of film.

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Innale Vare movie review: There’s more to this thriller than appearances suggest 

Innale Vare’s cleverest trick is that in places it makes a concerted effort to lull the viewer into assuming it has played all its aces, although the next one is right up its sleeve.

Language: Malayalam   

  If Oruthee stood gender-related conventions of the ‘chase scene’ on their head, the new film Innale Vare does the same with the ‘fight scene’. Fisticuffs in films are usually unreal and dealt between men. The rare women who are allowed in are either there to be protected, to be objectified as hotties who fall to a man or, at best, are impossibly strong just like the men they’re combating. An extended war of punches in Innale Vare (Until Yesterday) though, is none of the above: it features a man and a woman tearing into each other, neither is she Wonder Woman nor he Superman, the actors involved and cinematographer Bahul Ramesh make it look completely real, not one extra second gets past Ratheesh Raj’s precision editing, and the conclusion is cent per cent convincing.   

That confrontation in Innale Vare bursts onto the screen unexpectedly, and encapsulates the spirit and impact of the film: slowing down occasionally to create an impression that it has nothing more to offer right before its next disclosure, and using offbeat devices to make a point.   

Writer-director Jis Joy’s Innale Vare is based on a story by Bobby and Sanjay about a selfish, arrogant movie star called Adhi (Asif Ali) who falls on bad times. We see Adhi cheat on his girlfriends (Reba Monica John and Athulya Chandra), mistreat a producer (Nandu) by refusing to complete a long-pending project and humiliate a businessman who approaches him for an ad campaign. In fact, on his way up the ladder, Adhi has antagonised everyone who loves him, so when he needs them most, he finds that they don’t get worried about his erratic behaviour and words because his past conduct has compelled them to set their expectations low.   

Adhi is dealing with a crisis when he walks right into another by taking a lift one day from a stranger (Nimisha Sajayan). What follows is a game of deception and a battle of wits that draws multiple players into the arena including her friend (Antony Varghese), Adhi’s girlfriends, his mother (Sreelakshmi), his manager (Rony David) and an ally in the police force (Irshad).

The film is a warning bell against letting success go to your head, laid over a cautionary tale about how technology can be manipulated to ruin lives. I am no tech expert, so I cannot vouch for whether the exact – often amusing – nature of online manoeuvring portrayed in Innale Vare is possible, but I see no reason not to buy into the premise for a fictional saga, especially since new software emerges every minute these days, we know that identity theft is a real danger in today’s world, and though the manoeuvrings in the film sometimes falter, the script has already laid out very valid reasons for why the people in Adhi’s life don’t notice anything suspicious about his telephone calls and social media posts when they should have.   

Innale Vare ’s cleverest trick is that in places it makes a concerted effort to lull the viewer into assuming it has played all its aces, although the next one is right up its sleeve.

It also tests the audience by tapping a prevalent social prejudice that women can get away with outright deception because society tends to believe them over paavam men, a prejudice that commercial Malayalam cinema has for long played along with: in one scene, a woman lies through her teeth without batting an eyelid, the desperation of the man she’s lying about made me feel empathy for him in a way I had not experienced earlier in the film…and I found my heart sinking. Did Innale Vare plan to peddle this stereotype? Was it designed as fuel for misogynists who claim that men are always victimised by women and systems especially in cases of violence? But Bobby and Sanjay don’t let us down, and gradually let on that Innale Vare is not pitting men against women at all. Instead the film prods us to remember that our casual actions can have horrible consequences for others and for us, and our amorality could come back to bite us when we are at an all-time low.   

Asif Ali does the insecure, aggressive egoist well, belying his appearance of innocence. Unlike the policeman he played in last week’s Kuttavum Shikshayum , here he does not permit Adhi’s vulnerability to make him likeable for even a moment, though he does not make himself overtly, caricaturishly repugnant either. He’s a jerk who comes by his just desserts, that’s all.   

The one who steals the show in Innale Vare though is Nimisha Sajayan who is simultaneously oily and scared, terrified yet determined. Her character’s ingratiating tone and expressions in her introductory scene are everything every creepy, clingy, pushy fan has ever been. In the scenes that follow, she is greatly enabled by the camerawork that almost seems to mock her and her mincing, uncertain steps.     

That said, you can’t cast Antony Varghese from Angamaly Diaries in your film and expect to get away with  giving him such an under-explored role. Revise that: this person is a major participant in the proceedings, so irrespective of who was playing him, you should have known you cannot get away with writing him inadequately. The superficial characterisation of this individual causes the narrative to sometimes flatten out when he appears in Innale Vare.   

Also, while the film moves along at a pace that leaves little spare time to question the methods employed by Adhi’s adversaries, certain improbabilities just cannot be ignored. Not only does a major star take a video call at a crowded party, the caller, unmindful of where he is, reveals personal information in that mode. And while I could buy into the techniques used to access his intimate communications, I couldn’t figure out how his social circle was so easily accessed. There is also a passage in which Adhi’s enemies jointly expose themselves to a person other than Adhi, which seems like an uncharacteristic instance of throwing caution to the winds.

Nevertheless, I found myself consistently engaged with Innale Vare ’s take on karma and vendetta, its refusal to paint anyone in shades of saintliness or undiluted evil, and the puzzle of whether non-actors pretending to be who they are not in the story would trump an actual actor. Jis Joy’s filmography so far has been dominated by feel-good flicks about human goodness and hope , but Innale Vare stays determinedly within grey territory. The film is not constructed as a pacey, edge-of-the-seat thriller, but instead one that appears more straightforward than it actually is and is less focused on suspense than it is on the human condition.

Rating: 3.25 (out of 5 stars)  

Innale Vare is streaming on SonyLIV

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial  

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Aattam review: A magnificent film that brilliantly explores male hypocrisy

There's no simple way to describe anand ekarshi's aattam. it is both a play and a movie. it is also a play within a play within a movie. it is also a courtroom drama, albeit sans a courtroom. however, above all, aattam stands out as one of the most brilliant malayalam movies in recent times..

Just when you believe you’ve unravelled a character in this film and understood their true nature, they utter something incredibly banal or logical, completely shattering your perceptions of them. It’s only after a certain point that we realise they are like us and we are like them — taking stances and forming opinions based on convenience and how much of ours is at stake.

There’s no simple way to describe Anand Ekarshi’s debut feature Aattam (The Play), which was recently screened at the 28th International Film Festival of Kerala (IFFK). At its core, the film revolves around a woman who faces sexual assault in a space she had considered safe. Simultaneously, it is about a group of men who come together to ‘discuss’ or ‘investigate’ the matter. At the same time, it is also about the insensitivity with which a patriarchal society responds to such cases. The film also exposes male hypocrisy and how men, ultimately, wield influence even in matters they lack understanding of. It also highlights the issue of men not knowing when to shut up and the denial of opportunities for women to speak. Aattam, simultaneously, shows how the burden consistently falls on women to prove the authenticity of their experiences, whereas men often receive a free pass without needing any explanations. Aattam is both a play and a movie, like KG George’s all-time classic Yavanika (1982). It is also a play within a play within a movie. The film can be likened to a courtroom drama too, albeit sans a courtroom. However, above all, it stands out as one of the most brilliant Malayalam movies in recent times.

Anjali (Zarin Shihab) is the sole female member of a drama troupe called Arangu, which consists of 12 male actors, in addition to the director. The film begins by depicting their preparations for staging a play. Anjali assumes the central female role, while Hari (Kalabhavan Shajohn) takes on the male lead and Vinay (Vinay Forrt) plays a significant role in the cast. Following the play’s conclusion, two of Hari’s non-Indian friends visit backstage to congratulate them and extend an invitation for a stay at their resort in Kochi.

The team accepts the invitation and enjoys the night together. However, after the party, at midnight, Anjali, who is sleeping on a diwan cot by an open window, is groped, leaving her traumatised. A few days later, she confides in Vinay, her romantic partner, about the incident and says that Hari did it. Vinay escalates the matter, though Anjali does not want anything to be done about it and just wanted to erase it from her memories, and brings it to the attention of team leader Madhan who urgently calls for a team meeting of all male actors, excluding Hari. They convene at Madhan’s house to discuss the issue and seek an ‘amicable solution’.

The remainder of the film follows their discussions, arguments and the unravelling of their true selves as tensions rise, especially when personal matters come into play.

The film’s greatest strength lies in its intricately crafted screenplay, deftly transforming a sexual assault into a play, a discussion topic and even a case to be investigated, all without diminishing the gravity of the incident or the fact that it was a crime. Early on, the film employs sharp scenes to effectively explore and reveal the characters, their traits, nature and socio-economic backgrounds through dialogues, actions, attire and even subtle glances, laying the groundwork for the unfolding narrative.

As the actors ‘enter the stage’ for the ‘discussion’ play and gather around a roundtable, reminiscent of Sidney Lumet’s 12 Angry Men (1957), the film takes on the tone of a courtroom drama, with arguments and counterarguments presented by parties with little to no knowledge of the situation. Apart from seamlessly allowing the narrative progress in a gradual real-time pace, in contrast to a play or even a movie, Aattam continually provides new masks and attire to each actor as well, while also disrobing and exposing them in tandem. At the same time, the meticulous precision in the writing of each dialogue enhances the depth of the film. Even with its real-time progression, Aattam maintains its essence as a play, divided into acts, allowing us to witness actors entering and exiting each setting or, at times, the stage itself.

Writer-director Anand Ekarshi adeptly exposes the blatant misogyny, sexism, hypocrisy, ego, envy, lust, selfishness, pseudo-righteousness and more from all the characters evenly, leaving no one untouched. It also ensures that Hari’s presence and command are felt throughout, even when he is absent on-screen. Special commendation is deserved for the emphasis placed on the hypocrisies of the holier-than-thou teacher and former newspaper editor, as people often mistake such superficial persons for good ones.

While Aattam delves into the flaws of these men, it consistently keeps Anjali in focus. The film avoids attempting to victim-blame her in any manner, even when almost all characters utter such dialogues and eventually become rape apologists towards the end for personal gains. The film provides Anjali proper agency and never casts doubt on her for even a single moment, which is indeed laudable for a mainstream Malayalam film.

While every actor, nearly all with theatre backgrounds, delivers spectacular performances, Zarin Shihab stands out with her flawless portrayal, skillfully navigating and effectively expressing all the emotions of Anjali. Vinay Forrt and Kalabhavan Shajohn also excel in their respective roles.

Anand Ekarshi’s adept framing of each shot and the strategic use of various shots, especially close-ups that evoke a sense of necessary suffocation, align with the tone and mood of the respective moments, making the film a true gem. Thanks to his decision to conduct a 35-day workshop before filming, every shot in the film appears nearly perfect, with absolutely no flaws. Cinematographer Anurudh Aneesh and Anees Nadodi’s art direction also warrant special praise for the overall brilliance of the film. Mahesh Bhuvanend’s masterful editing contributes to the seamless flow of the movie. Basil CJ’s music, though filling the screen only when required, effectively enhances instances that demand it.

Aattam movie cast: Vinay Forrt, Zarin Shihab, Kalabhavan Shajohn Aattam movie director: Anand Ekarshi Aattam movie rating: 4 stars

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Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at [email protected]. ... Read More

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Home » Reviews » Malayalam Movie Reviews

Anweshippin Kandethum Movie Review: Double The Thrill, One Investigative Package

The storyline of anweshippin kandethum revolves around two separate crimes and their subsequent investigations set in kerala.

Star Cast: Tovino Thomas, Siddique, Arthana Binu, Baburaj, Pramod Velliyanad, Vineeth Thattil David

Director: Darwin Kuriakose

What’s Good: The film adeptly sustains suspense, captivating audiences from start to finish. It diverges from investigative thriller conventions by not introducing a family for Tovino, instead focusing solely on the investigation without unnecessary diversions, thereby enhancing its appeal.

What’s Bad: Specific viewers may find a lack of emotional connection to the investigating officer, a characteristic often present in films of this genre. Tovino Thomas’s character, however, lacks any personal connections such as a girlfriend, wife, or children.

Loo Break: Given the intricacies of the plot, it’s not advisable to take breaks as they may lead to missing vital information.

Watch or Not?: “Anweshippin Kandethum” is a compelling choice for enthusiasts of investigative thrillers, offering engaging narratives, talented performances, and thematic depth.

Language: Malayalam

Available On: Theatrical Release

Runtime: 2h 22m

The storyline of ‘Anweshippin Kandethum’ revolves around two separate crimes and their subsequent investigations set in Kerala . The film is organized into two discernible segments, inviting viewers into an investigation in the late 80s and a distinct investigation in the early 90s. Each segment delves into the enigmatic circumstances surrounding the deaths of young women in their early twenties, with each case presenting a unique and separate narrative.

Anweshippin Kandethum Movie Review: Script Analysis

The script propels the narrative forward, focusing on the investigation and avoiding unnecessary diversions. Jinu Abraham adeptly weaves a narrative that maintains viewer engagement from start to finish, with every scene advancing the plot. The script instills a feeling of suspense and intrigue, holding audiences captive. Furthermore, deliberately omitting extraneous subplots or distractions produces a more cohesive storytelling experience.

Although Tovino Thomas’s character lacks personal ties, the script showcases his commitment to his profession and relentless quest for justice. Each character is intricately developed, adding depth to the narrative. In sum, the script of “Anweshippin Kandethum” provides a sturdy framework for the film, propelling its storyline while effectively captivating the audience with its suspenseful storytelling.

Anweshippin Kandethum Movie Review: Star Performance

In “Anweshippin Kandethum,” Tovino Thomas delivers an exceptional performance as Anand Narayanan, portraying the character with depth and conviction. He skillfully captures the intricacies of a committed police officer navigating complex investigations, exhibiting a spectrum of emotions from resolve to vulnerability. Tovino’s portrayal effectively conveys the internal conflicts and external obstacles his character encounters, imbuing the film with authenticity and inviting viewers to empathize with Anand’s journey.

The other cast of “Anweshippin Kandethum” significantly enhances the film’s overall quality. Actor Siddique convincingly portrays a superior officer to Tovino, while Indrans delivers a commendable performance that does justice to his role despite appearing in only a few scenes. Additionally, Shammy Thilakan adds depth and subtlety to his character, further enriching the film with his performance.

Anweshippin Kandethum Movie Review: Direction, Music

Directed by Darwin Kuriakose, “Anweshippin Kandethum” is a fast-paced movie focusing on essential scenes devoid of unnecessary fillers, enhancing the overall viewing experience. The direction ensures a cohesive storytelling experience . The late 80s and early 90s are captured impeccably, with attention to detail evident in the portrayal of vehicles, clothing, and street scenes. Each scene adeptly conveys the depth of the situations depicted.

The music by Santhosh Narayanan is good, although it leans too heavily on the bass for my taste. However, other audience members enjoy it. It effectively enhances the film’s enjoyment and immerses us further in the storyline.

Anweshippin Kandethum Movie Review: Last Words

“Anweshippin Kandethum” shines as a mesmerizing police procedural, elevated by stellar acting, an enthralling plot, and masterful direction. It adds to the esteemed tradition of top-notch cop dramas in Malayalam cinema, ensuring it’s a must-watch for aficionados.

Anweshippin Kandethum Trailer

Anweshippin Kandethum releases on 09 February, 2024.

Share with us your experience of watching Anweshippin Kandethum.

For more recommendations, read our The Promised Land Movie Review here.

Must Read: Ghost Movie Review: Shiva Rajkumar Returns In A Gangster Avatar In A Gripping Heist Drama With Illogical Twists!

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webExclusive Report --> അടിയുടെ പൊടിപൂരം, ഇടിയുടെ വെടിക്കെട്ട്: ‘ടർബോ’ റിവ്യൂ Turbo Review

Published: May 23 , 2024 12:49 PM IST Updated: May 23, 2024 02:10 PM IST

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‘ഈ പ്രായത്തിലും എന്നാ ഒരു ഇതാന്നേ !’ തിയറ്ററിൽ ടർബോ കണ്ടുകൊണ്ടിരിക്കെ ആർക്കും മനസ്സിൽ തോന്നാവുന്നത് ഇതാണ്. ആക്ഷനിലെ പെർഫക്ഷനുമായി വീണ്ടും വൈശാഖ് വന്നിരിക്കുന്നു. ആദ്യപകുതിയിൽ വളരെ പതിയെ തുടങ്ങുന്ന ചിത്രം സെക്കൻഡ്ഹാഫിൽ ടർബോ എൻജിനുമായി മമ്മൂട്ടി യുടെ ഇടിയുടെ പൊടിപൂരമൊരുക്കുന്നു. ആക്ഷൻ സിനിമകളെ സ്നേഹിക്കുന്ന മമ്മൂട്ടി ആരാധകർക്കുള്ള വിരുന്നാണ് ഇൗ ചിത്രം. 

വളരെ ശ്രദ്ധിച്ചുമാത്രം സിനിമ തിരഞ്ഞെടുക്കുന്ന മമ്മൂട്ടി ഇത്തവണ തന്റെ ആരാധകർക്കുവേണ്ടി ചെയ്ത മാസ് എന്റർടെയ്നറാണ് ടർബോ. ഉദയ്കൃഷ്ണയ്ക്കു പകരം മിഥുൻ മാനുവൽ തോമസിനെ കൂടെക്കൂട്ടിയ വൈശാഖ് ഇത്തവണ സ്ഥിരം ‘തമാശ’ലൈൻ ഒന്നു മാറ്റിപ്പിടിച്ചിട്ടുണ്ട്. മിഥുന്റെ പതിവ് ഇൻവെസ്റ്റിഗേഷൻ, ഡാർക് മോഡ് രീതിയല്ല ടർബോയുടേത്. ഒരുപക്ഷേ, ആക്ഷനാണ് കഥയേക്കാൾ മുന്നിട്ടുനിൽക്കുന്നത്. 

ഇടുക്കിയിലെ തന്റെ ഗ്രാമത്തിലെ ഏലത്തോട്ടത്തിലൂടെ അമ്മയുടെ കൂടെ നടന്നു വരുന്ന ജോസൂട്ടി. നാടുകാണാനെത്തുന്ന വിദേശികളെ ട്രക്കിങ്ങിനു കൊണ്ടുപോവുന്ന ജീപ്പ് ഡ്രൈവറാണ് ജോസ്. അമ്മ പറഞ്ഞാൽ അക്ഷരംപ്രതി അനുസരിക്കുന്ന മകൻ. എന്നാൽ അലമ്പിന്റെ കാര്യത്തിൽ നമ്പർ വൺ. ടർബോ ജോസിന്റെ ഇടികാണാൻ മാത്രം പള്ളിപ്പെരുന്നാള് കൂടാൻ വരുന്ന നാട്ടുകാർ. ആദ്യത്തെ പത്തു മിനിറ്റുകൊണ്ട് ജോസിന്റെ പശ്ചാത്തലം വൈശാഖ് വിവരിക്കുന്നുണ്ട്.

വളരെ ലളിതമായാണ് മമ്മൂട്ടിയുടെ ഇൻട്രോ. പക്ഷേ അഞ്ചു മിനിറ്റ് തികയുംമുൻപേ ‘മെഗാഷോ’യുമായി ഒരു സെക്കൻഡ് ഇൻട്രോ കൂടി വരുന്നു. ആരാധകർ ഇളകിമറിയുന്ന ‘ടർബോ ഡീസൽ’ ഇൻട്രോ. അതോടുകൂടി പടത്തിന്റെ ഗ്രാഫ് എതിലെയാണ് പോവുന്നതെന്ന് ഏകദേശം  വ്യക്തമാവുന്നുണ്ട്. തന്നെ ജോസേട്ടനെന്നു വിളിച്ചു കൂടെ നടക്കുന്ന, സ്വന്തം അനിയനെപ്പോലെ സ്നോഹിക്കുന്നൊരാളുടെ ജീവിതം എങ്ങനെയാണ് ജോസിന്റെ ജീവിതത്തെ മാറ്റിമറിക്കുന്നതെന്നതാണ് ടർബോയുടെ കഥ.

തിയറ്ററിൽ മമ്മൂട്ടിയുടെ ‘ക്വിന്റൽ ഇടി’; ‘ടർബോ’ പ്രേക്ഷക പ്രതികരണം

തരക്കേടില്ലാത്ത ആദ്യപകുതി അവസാനിക്കുന്നത് മോശമല്ലാത്തൊരു ട്വിസ്റ്റോടുകൂടിയാണ്. പിന്നീടങ്ങോട്ട് രണ്ടാംപകുതി കറ തീർന്ന ത്രില്ലർമോഡിലേക്ക് മാറുന്നു. മമ്മൂട്ടിയുടെ ആക്ഷൻ സീക്വൻസുകളിലെ പെർഫക്ഷനാണ് രണ്ടാംപകുതിയിൽ പ്രേക്ഷകരെ പിടിച്ചിരുത്തുന്നത്. വൈശാഖിന്റെ പോക്കിരിരാജയും പുലിമുരുകനുമൊക്കെ കണ്ട കാണികൾക്ക് ടർബോയുടെ കഥയെങ്ങോട്ടാണു പോവുന്നതെന്ന് മനസ്സിലാകും. പക്ഷേ അതൊന്നും ചിന്തിക്കാനുള്ള ഗ്യാപ് ഒരിടത്തും വൈശാഖ് കൊടുക്കുന്നില്ല.  തീർക്കാൻ പറ്റാത്തതൊന്നും ടർബോ ജോസ് തുടങ്ങിവച്ചിട്ടില്ലെന്ന് നായിക തന്നെ വിശേഷിപ്പിക്കുന്നുണ്ട്. പ്രേക്ഷകരെ പൂർണമായും തൃപ്തിപ്പെടുത്തുന്ന ആക്ഷൻ പാക്കേജ് ഒരുക്കാൻ വൈശാഖിന് കഴിയുന്നുണ്ട്. തമിഴിലെ സൂപ്പർതാരത്തിന്റെ വോയ്സോവറിലൂടെ ഒരു രണ്ടാംഭാഗത്തിനുള്ള സാധ്യത തുറന്നിട്ടാണ് വൈശാഖ് സിനിമ അവസാനിപ്പിക്കുന്നത്.

രാജ് ബി ഷെട്ടിയുടെ വരവാണ് ടർബോയുടെ നട്ടെല്ല്. ‘ഗരുഢഗമന ഋഷഭവാഹന’ പോലുള്ള സിനിമകളിലൂടെ ഞെട്ടിച്ച പവർപാക്ക്ഡ് പെർഫോമൻസ് മലയാളത്തിൽ ആദ്യമായി കാണുന്നതിന്റെ ഫ്രഷ്നസ് വൈശാഖ് വേണ്ടത്ര ഉപയോഗിച്ചിട്ടുണ്ട്. തെലുങ്കിൽ നിന്നുള്ള സുനിലിന്റെ വരവും മോശമാക്കിയില്ല. കോമഡി ടച്ചുള്ള വില്ലൻവേഷവുമായി അദ്ദേഹവും തകർക്കുന്നുണ്ട്. എന്നാൽ ബിന്ദു പണിക്കരാണ് മറ്റെല്ലാവരേക്കാളും കയ്യടിയർഹിക്കുന്ന അഭിനേതാവ്. ബിന്ദുപണിക്കരെയല്ലാതെ മറ്റാരെയും ഈ വേഷത്തിൽ സങ്കൽപ്പിക്കാൻപോലും കഴിയില്ല. അത്രയേറെ മികവാർന്ന അഭിനയമാണ് അവരുടേത്.  നായികയായെത്തിയ അഞ്ജന ജയപ്രകാശും മികച്ച പ്രകടനമാണ് നടത്തുന്നത്. 

ഛായാഗ്രഹണത്തിൽ വിഷ്ണു ശർമ വിശ്രമമില്ലാതെ പണിയെടുത്തതിന്റെ ഫലം വെള്ളിത്തിരയിൽ കാണാനുണ്ട്. ഇടുക്കിയിലെ പള്ളിപ്പെരുന്നാൾ, ചെന്നൈയിലെ നൈറ്റ് കാർ ചെയ്സ്, ക്ലൈമാക്സ് സീക്വൻസ് തുടങ്ങി ഛായാഗ്രഹണമികവ് എടുത്തുപറയാവുന്ന അനേകം മുഹൂർത്തങ്ങളുണ്ട്. പശ്ചാത്തല സംഗീതമൊരുക്കിയ ക്രിസ്റ്റോ സേവ്യർ കൈമെയ് മറന്ന് അധ്വാനിച്ചിട്ടുണ്ട്. ക്ലൈമാക്സ് സീനും ചേസിങ്ങുമടക്കം ആദ്യാവസാനം ക്രിസ്റ്റോ കാണികളെ പിടിച്ചുകുലുക്കുന്നുണ്ട്. കഥയെ ഇടവേളകളില്ലാതെ തോളിലെടുത്തുയർത്തി മുന്നോട്ടു കൊണ്ടുപോവുന്ന പശ്ചാത്തലസംഗീതം.

ആദ്യാവസാനം ത്രില്ലടിച്ചു കാണാവുന്നതൊക്കെ വൈശാഖ് ഒരുക്കിയിട്ടുണ്ട്. സിനിമ കണ്ടു കഴിയുമ്പോഴും മനസ്സിൽ തങ്ങിനിൽക്കുന്നത് മമ്മൂട്ടിയുടെ ആക്‌ഷനാണ്. മുണ്ടൊന്നു മടക്കിക്കുത്തുക പോലും ചെയ്യാതെയുള്ള ഇടി. തലകുത്തി മറിഞ്ഞുള്ള അടി, ഇടി, ഇടിയോടിടി. 440 വാട്ടിന്റെ ഹൈപവർ ഇടി. ഓരോ ഇടിയും ഓരോ ക്വിന്റൽ. ഈ മനുഷ്യൻ, ഇതെങ്ങനെ സാധിക്കുന്നുവെന്ന് ക്ലൈമാക്സ് കഴിയുമ്പോൾ ആരും  ചോദിച്ചുപോവും.

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'Mandakini' Movie Review: A slow starter powered by the mass performance of female stars

After the award-winning 'Thinkalazhcha Nishchayam', films with marriages as a leitmotif are no longer hard to come by. Vinod Leela's 'Mandakini', starring Althaf Salim and Anarkali Marikar, is also centred on a marriage.The film begins with Aromal, the bridegroom, sharing a 'small' concern with the god on the day of his wedding. This monologue sets the tone of the comedy film, scripted by Shiju Bhaskar and Shalu.  Althaf Salim of 'Pachuvum Athbuthavilakkum' fame gets his first lead role in the movie. Aromal is raised by his single mom Rajalakshmi, who owns a driving school. His newlywed wife, Ambili, was a student at Rajalakshmi's driving school. The film follows what happens on the night of the wedding.  The first half focuses mostly on the wedding night, where the bridegroom's family is seen indulging in too much alcohol and some fun banter. Though the humour works in bits and parts, there is a lag in the narrative initially, which is spent mostly on establishing the mood of the wedding night. 

However, the twist at the interval and the humour in the second half add more colour to the film, adding pace to the storytelling. Althaf does a good job playing Aromal, though it feels like an extension of his character roles. Anarkali Marikar and Ganapathi Poduval deliver excellent performances. The banter between Vineeth Thattil David and Kutty Akhil is the highlight of the film. Actor Saritha Kukku, who was part of films like 'Bharatha Circus' and 'Aabhaasam', puts up a brilliant performance as Aromal's mother. She gets some mass moments that can give even some heroes a run for their money. Malayalam cinema has seen the absence of prominent female characters in recent hits, but 'Mandakini', without much theatrics or drama, ensures women get some deserving space onscreen. The film, though infused with humour, also addresses the complexities that arise in marriages if one is unable to be transparent with their partner. The songs composed by Bibin Ashok blend soothingly well with the storyline, which leaves you with a smile at the end.

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Ahead of 'Turbo' release, Mammootty explains why Malayalam film industry is delivering many hits

Claims that it is the audience who are controlling cinema

Mollywood superstar Mammootty , who is gearing up for the release of his action drama Turbo spoke about Mollywood delivering several hit films in recent times.

The actor, during a promotion event of Turbo in Dubai, said good movies are crafted and produced only when there are good audience.

The actor claimed that it is the audience who are controlling cinema and observed that only when the audience change, movies change.

Mammootty pointed out that there will be good movies when the audience decides to not watch badly made movies and choose to promote films that are good.

The actor's response came when he was asked if the recent success of Malayalam movies suggests that the taste of the audience is evolving or if the movies themselves are changing.

Several Malayalam movies in recent times , including Premalu, Manjummel Boys , Aavesham , Aadujeevitham and Bramayugam , have managed to win appreciation from audiences across India and high praise from critics.

"Only because our people encourage good cinema and come to watch them, good movies come up in Mollywood. Look at other languages; films there become flops as they are unable to understand the audience. It is the audience that controls cinema, totally," Mammootty said.

Turbo , d irected by Vysakh, and starring Kannada actor Raj B. Shetty, and Telugu actor Sunil along with Siddique, Bindu Panicker, Anjana Jayaprakash, Janardhanan, Siddique and Shabareesh Varma in the lead, hits theatres on May 23. The movie is expected to be an out-and-out action entertainer. 

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Best year yet for Indian filmmakers with three wins at Cannes 2024

It was a triple feat for Indian talent at the 2024 Cannes Film Festival with Payal Kapadia's ''All We Imagine As Light'', ''Sunflowers Were the First Ones to Know'' by FTII student Chidananda S Naik, and Anasuya Sengupta of ''The Shameless'' fame winning major awards in each of the three competitive sections of the prestigious gala. The 77th edition of Cannes, which concluded on Saturday, was undoubtedly the best year for the country which found space at the fest through eight Indian, or India-themed, films.

Kapadia, an alumna of the Film & Television Institute of India (FTII), charted history by becoming the first Indian filmmaker to win the Grand Prix award for ''All We Imagine as Light''.

''Thank you, Cannes Film Festival for having our film here. Please don't wait 30 years to have another Indian film,'' she said in her speech.

The movie earned the honour, the second-most prestigious prize of the gala after the Palme d'Or, which went to American director Sean Baker for ''Anora''.

''All We Imagine as Light'', a Malayalam-Hindi feature starring Kani Kusruti, Divya Prabha and Chhaya Kadam, revolves around three women in Mumbai who go on a road trip to a beach town. Kapadia's movie, her feature directorial debut, is the first Indian film in 30 years and first ever by an Indian female director to be showcased in main competition, last being Shaji N Karun's ''Swaham'' (1994).

That ''All We Imagine As Light'' will win an award became almost certain when it received glowing reviews following its premiere, with some international critics describing it as a ''portrait of urban connection'' and ''poetic meditation'' as well as comparing Kapadia's work to that of masters like Satyajit Ray and Wong Kar Wai.

Though the second most prestigious prize at Cannes, Grand Prix has a storied history with prominent titles including this year's Oscar winner ''The Zone of Interest'' and Park Chan-wook's revenge drama ''Oldboy'' as part of the list.

''All We Imagine as Light'' has already found distributors for its North America release, but it's unclear when the film will be screened in India.

Writer-lyricist Varun Grover said it was an ''unbelievable day'' for Indian cinema.

''Dissent, in art and in life, is a tough path to choose. But sometimes it does create magic,'' he wrote on X.

Kapadia, who led a student protest against the appointment of actor-politician Gajendra Chauhan as FTII chairman, had won the Oeil d'or (Golden Eye) award at Cannes for acclaimed documentary ''A Night of Knowing Nothing'' which premiered under Director's Fortnight section in 2021.

Her 2017 short film ''Afternoon Clouds'' opened at Cannes under Cinefondation category, dedicated to supporting the next generation of talented filmmakers.

Actor Richa Chadha called Kapadia's win historic.

''Wow!! What an incredible achievement for Indian cinema! Take a bow,'' said Malayalam star Tovino Thomas.

That's not all. Production designer Sengupta, who starred in a key featuring role in Bulgarian director Konstantin Bojanov's ''The Shameless'', became the first Indian to win the best actress prize in Un Certain Regard.

''The Shameless'' explores a dark world of exploitation and misery in which two sex workers forge a bond.

Sengupta dedicated her win ''to the queer community and other marginalised communities''.

"You don't have to be queer to fight for equality, you don't have to be colonised to know that colonising is pathetic — we just need to be decent human beings,'' she said.

Actor Tillotama Shome shared Sengupta's speech on Instagram.

''She brought it HOME. Listen to her words. Till the end. The quality of her voice. Ink this in your hearts. For all the dreamers...'' British-Indian director Sandhya Suri's ''Santosh'', also part of Un Certain Regard, didn't win any award but being featured at Cannes is an achievement in itself.

Neeraj Ghaywan's ''Masaan'' previously won two awards—FIPRESCI, International Jury of Film Critics prize and Promising Future prize in the section. Naik's ''Sunflowers Were the First Ones to Know…'', which won the La Cinef first prize (film school fiction or animated films), was another feather in FTII's cap.

Based on a Kannada folktale, the movie follows an old woman who steals a rooster following which the sun stops rising in the village.

The third La Cinef prize went to India-born Mansi Maheshwari's animation film ''Bunnyhood''.

Previously, Indian films to be selected for the Cannes Competition segment include Mrinal Sen's ''Kharij'' (1983), M S Sathyu's "Garm Hava" (1974), Satyajit Ray's "Parash Pathar" (1958), Raj Kapoor's "Awaara" (1953), V Shantaram's "Amar Bhoopali" (1952) and Chetan Anand's "Neecha Nagar" (1946). This year, India's presence at Cannes also saw the restored version of Shyam Benegal's 1976 crowdfunded film ''Manthan'' in Cannes Classics. Karan Kandhari's ''Sister Midnight'' appeared in Directors' Fortnight and Maisam Ali's ''In Retreat'' was picked for ACID Cannes. ''Maya: The Birth of a Superhero'', a virtual reality title with an India connect, was also selected. In 2013, Indian cinema sent five films to various sections – ''Monsoon Shootout'' (Midnight Screening), ''Bombay Talkies'' (a Special Screening to mark 100 years since Dada Saheb Phalke's ''Raja Harishchandra''), ''Ugly'' (Directors' Fortnight), ''The Lunchbox'' (Critics' Week) and ''Charulata'' (Cannes Classics).

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When the Chief Minister of Kerala V. G. Sadanandan, popularly known as VG, is poisoned, the investigation is assigned to ace cop Perumal. He has to apprehend the criminal who is a master of ... Read all When the Chief Minister of Kerala V. G. Sadanandan, popularly known as VG, is poisoned, the investigation is assigned to ace cop Perumal. He has to apprehend the criminal who is a master of disguises and is known not to leave any witnesses. When the Chief Minister of Kerala V. G. Sadanandan, popularly known as VG, is poisoned, the investigation is assigned to ace cop Perumal. He has to apprehend the criminal who is a master of disguises and is known not to leave any witnesses.

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Janhvi Kapoor on paparazzi culture: Every celeb has sort of a ration card

In a recent interview, actor janhvi kapoor disclosed the existence of a 'celebrity ration card' system. she revealed that paparazzi are paid per photo they capture of celebrities..

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• Janhvi Kapoor recently talked about the paparazzi culture
• She shared this in a recent interview
• The actor is currently promoting her upcoming film 'Mr and Mrs Mahi'

Janhvi Kapoor recently discussed the paparazzi culture in Bollywood. In a new interview while promoting her film 'Mr and Mrs Mahi', she stated that paparazzi get paid based on the photos they click.

In an interview with the Lallantop , sister channel of India Today, Janhvi revealed that there is a 'celebrity ration card'. She explained that during film promotions, paparazzi are invited to click photos at the airport. She said, " Har celebrity ka ek ration card jaise hota hai. Inki picture itne mein bikti hai. Agar aapka price ho, toh pohnch jaate hain, gaadi follow kar lete hai. Agar price itna high nahi hai, toh bulaya jaata hai kai baar. (Every celebrity has a sort of ration card. Their picture sells for a certain amount. If your price is high enough, they reach for you and follow your car. If the price is not that high, sometimes they are invited. )

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However, when she is not promoting a film or wants to stay out of the spotlight, paparazzi sometimes follow her car because they earn money from each picture.

Janhvi mentioned that each celebrity has a value attached to their photos. Janhvi added, " Lekin jab film ki promotion nahi ho rahi hai, jab shoot mein nahi jaari hoon, jab gayab hona chahti hoon, tab woh, agar woh extra effort loge, toh woh aap nahi dekhoge. Aisa kahi baar hua hai ki ya toh woh aapke gaadi ko follow karte hai, kyunki har picture ka, har image ka unhe paisa milta hai. (But when the film promotion is not happening, when I'm not going to a shoot, when I want to disappear, then if they make that extra effort, you won't see that. Many times, it has happened that they either follow your car because they get money for every picture, for every image.)

In the same interview, the 'Mili' actor mentioned that for 'Mr and Mrs Mahi’s promotions, she has taken 25-30 flights, but the media has managed to spot her only 5-6 times. She also disclosed that she has requested the paparazzi not to click her outside the gym as she does not want to be snapped in tight gym clothes.

Her honest attitude was applauded by the internet. Fans commented on the video and praised Janhvi Kapoor for being 'genuine'.