JAANE-MAN| MALAYALAM MOVIE| REVIEW|

JAANEMAN 

MALAYALAM MOVIE | REVIEW|

SUBTLE HEART RENDERING COMEDY, SUFFICIENTLY DRAMATIC, GRIPPING CHAOS AND BITTERSWEET HUMOUR; A HIGH END COCKTAIL OF SCINTILLATING ENSEMBLE CAST AND CHARACTERS, WRITER- DIRECTOR CHIDAMBARAM ENDURES ALL STORMS TO DELIVER A WINNER

Ensemble casts have a unique place in Malayalam cinema.  For decades, a good family drama in Malayalam has always been a good mix of pain, humour, characters, gripping plots and happy endings.  Writer- Director Chidambaram delivers this fine balance in his debut film Jaaneman and creates a new age ensemble cinema for the routine film goer.

The chemistry between members of the ensemble cast is a highlight in this film.  Each character is legitimately well placed.  The comedy is not forced and the script does not attempt deliberate laughter sequences.  The plot evolves naturally and ends with grace in a solemn serene biblical flavour.

Ria Saira and Balu are outstanding in the emotional sequences while Abhiram Radhakrishnan and Ganapathi outperform in comical chemistry.  The latter duo are natural and play their characters flawlessly leaving the audiences wanting for more from them.  Characters appear one after the other in this event based plot, and starts with actor Basil’s atypical expatriate loneliness.  With only Alexa as his friend he forsakes snow-ridden Canada and makes a whimsical trip to homeland Kerala to fill his hollow life again with friends and a party to celebrate his birthday only to get caught between two feuding neighbours, their families and friends.

Life and death are uniquely captured in this movie as themes of extreme human outbursts.  Between life and death, birthdays and funerals, are many people who have their own untimely lucks and disasters.  Basil holds the axis as the protagonist firmly and breaks paths playing the man-child.

His friends played by Arjun Ashokan, Siddharth Menon, Sajin and Prapthi liven up the plot with their own self serving agendas and sabotage the celebration in fifty different shades.  Sajin plays the gang leader with natural ease and his aide Sharath Sabha (nameless in the film) plays probably the best comedy character recently seen in Malayalam cinema, brilliantly, beyond praise. Sharath shines in his screen space and gives the movie refreshing comic relief without diverting from the main plot.  The characters are brilliantly etched and caricatured by writers Chidambaram, Ganapathi and Sapnesh Varachal.

Debutante DOP Vishnu Thandassery captures each character holistically and the frames are compelling making the audience focus on the what the director is pointing towards.  Aesthetically too, Vishnu’s frames are moving.  It is evident from the movie that the producers have given creative freedom to the director and the artists and that has brought out the best in all actors, and pushed the director to deliver without boundaries.

Arjun Ashokan plays the flamboyant boy next door adding his machismo, while Ganga, plays his mother unconventionally and in an utmost pleasing demeanour.  This is no polite family.

Gilu Joseph, who plays Balu’s elder sister is as nun-like as can be as ‘Saramma’.  Their uncle actor Lal plays the vulnerable old uncle, showing all shades of an old man from love, compassion, sorrow, anger to childlike excitement when he meets celebrity Ratheesh (played by Siddharth Menon). Siddharth is subtle and is well contained in his space, he brings humility and gentleness to the character Ratheesh.

Ganapati as Dr. Faizal Khan and Abhiram Radhakrishnan as Akshay Kumar play their characters with such ease that one would believe there has been no acting.  Their chemistry elevates the idea and concept of comedy in Malayalam cinema in particular, as they reveal a type of body acting different from the ones displayed in the past twenty years.

There are no comparisons for this film.  It is a pathbreaking film.  It lays paths for new outstanding actors to perform as character artists, for body acting in comedy, drama and action to move away from the repetitiveness Malayalam cinema has withstood and enjoyed for more than three decades but is redundant now.  It stands on its own, it is unique, and the script and the direction are the heroes of this must watch film.  It will make you laugh, cry and laugh more. 4/5 stars.

 

 

 

Editor's Picks

JAANEMAN| MALAYALAM MOVIE |REVIEW|

SUBTLE HEART RENDERING COMEDY, SUFFICIENTLY DRAMATIC, GRIPPING CHAOS AND BITTERSWEET HUMOUR; A HIGH END COCKTAIL OF SCINTILLATING ENSEMBLE CAST AND CHARACTERS, WRITER- DIRECTOR CHIDAMBARAM ENDURES ALL STORMS TO DELIVER A WINNER

Ensemble casts have a unique place in Malayalam cinema.  For decades, a good family drama in Malayalam has always been a good mix of pain, humour, characters, gripping plots and happy endings.  Writer- Director Chidambaram delivers this fine balance in his debut film Jaaneman and creates a new age ensemble cinema for the routine film goer.

Read More

 THINKALAZHCHA NISHCHAYAM | MALAYALAM CINEMA REVIEW |

SATIRE DRIVEN, NON-MELODRAMATIC, FOCUSED, AND METICULOUSLY SCRIPTED; THIS MOVIE IS A WINNER THROUGH AND THROUGH!

How can one dislike a film that entertains throughout? In english, this movie title means ‘The engagement is on monday’.  There is no surprise in the plot line; all of it is revealed in the title.  The story is about the making of an engagement and the joys and troubles involved.  Senna Hegde pulls off a regular story with exceptional craft. The highlight of the film is its climax.  The climax offers no pomp and show, no tearful departures, no melodramatic breakdowns, no revolutions, no rebellions, no glamour, not even the promised engagement.This film is a must watch not because it is extraordinary, but because it is very ordinary, and the brilliance is entirely in the balance the filmmaker maintained throughout.

 

Read More

KURUP|MALAYALAM MOVIE| REVIEW|
KURUP, THE MOVIE; DULQUER’S ATTEMPT TO CONQUER CINEMASCOPE FILMMAKING LEAVES AUDIENCES EMOTIONLESS

THIS PERIOD MOVIE COMES WITH COMPLETE GRANDEUR; GRAND SETS, STYLE, A GOOD CAST, LEAVES NO STONE UNTURNED IN PRODUCTION, BUT FAILS IN ITS EDITING AND COMPOSITION. DQ DOES NOT BECOME KURUP, KURUP BECOMES DQ. 

Dulquer remains Dulquer, we recognize him and his methods in all his movies and he repeats himself once again.  The actor lacks gravitas in his dialogue delivery and intonation.  Can style and glamour make up for lack of method acting in a role like this?  Did we expect more?

Read More