‘Aadujeevitham’ Review: A poetic and fervent adaptation of a fabulous novel

The topic of the famous novel ‘Aadujeevitham’is not alien to us. Since the visual interpretation of any popular book is an arduous task, the challenge before writer-director Blessy was to transcend the imaginative boundaries of its readers with his visual craft. Here, the director’s astounding visual sense and craftsmanship lead from the front to create an intense impact in the novel’s on screen adaptation. To simply put, ‘Aadujeevitham-The Goat Life’ is a masterpiece that poignantly depicts a Keralite’s pathetic life in a desert in the Middle East. It may be an irony that there is an aesthetic approach to a plot infested with hardships and pathos. Still, in this survival drama, Blessy poetically maintains the hammy situations and fervently narrates the tale of an expatriate alienated in the far-off desert.   

Author Benyamin’s novel of the same name is based on the real life of Najeeb Muhammed, hailing from Karuvatta, Alappuzha. He undergoes unparalleled tortures and struggles in the desert after being cheated by a visa fraudster. Najeeb Muhammed, stunningly ‘lived on screen’ by Prithviraj Sukumaran, is disconnected from the outer world for a couple of years leading the life of a shepherd in the inner areas of the desert. Najeeb lands in the Gulf country along with Hakeem, played by KR Gokul, with the hope of rebuilding a new life along with his pregnant wife Sainu, essayed by Amala Paul, and mother (Sobha Mohan) back home. 

Unfortunately, Najeeb reaches the interior parts of a desert and is destined to lead ‘goat life’ by tending sheep. He is meted out torture by his ruthless Arbab (boss), played by Omani actor Dr Talib al Balushi, besides putting him at risk of starvation. Alienated and emotionally demolished, Najeeb loses his faith to see the outer world anymore. Finally, one day, he finds an alternative with the help of an African citizen, Ibrahim Khadiri (Jimmy Jean-Louis). 

Certainly, Prithviraj leaves a lump in the throat of viewers with his stunning makeover and remarkable performance in ‘Aadujeevitham.’ His portrayal of the body language of Najeeb in various stages of his life is outstanding and one can fathom the level of dedication Prithvi has given for the character as an actor. Prithviraj intensely absorbs the despair and emotional pangs of Najeeb with ease sans any dramatic expressions in performance or artificiality in voice modulation. In the midst of his struggle for survival, Najeeb painfully realises the fading hopes of his going back to normal life. Here, Prithviraj is seen extraordinarily at the emotional helm which the character goes through.The film gives all the answers to the query why it is a paramount movie in the acting career of Prithviraj? Meanwhile, Gokul creates an indelible impact in the latter half of the flick where the sentimental realm is in full bloom.

Benyamin’s famous novel gives a vivid graphic description of the harrowing years of Najeeb in the desert. The author’s words get a poetic translation through Blessy’s aesthetic visual interpretation and he has given a fervent touch to each scene to sustain the emotions with all its essence. The soulful music by AR Rahman penetrates into the nub of the plot and gently touches the emotional strings of proceedings where the protagonist undergoes his never-ending ordeal in the desert. The soft tunes by Rahman elevate situational pathos to the zenith of emotions and make ‘Aadujeevitham’ an endearing experience.

Technical finesse of ‘Aadujeevitham’ including art and VFX are stupendous to create a natural premise where the fury of desert is dominated quite often. Moreover, the film is enhanced by Resul Pookutty’s top-notch sound design. The captivating visuals by Sunil KS really transform the film to a unique terrain and the frames beautifully depict the parched landscape that is reminiscent of the mental state of the protagonist. Based on an expatriate’s real life struggles in the desert, this masterpiece is marked by poetic narration by Blessy and compelling performance by Prithviraj Sukumaran. Disturbing and poignant, this survival drama is strongly eloquent in triggering memories of people about their hard struggles on a foreign soil to rebuild life.

Rating: 4/5

“Kaapa” Review: A typical gangster drama with unexplored potential

When Prithviraj Sukumaran plays a wicked goonda named ‘Kotta’ Madhu, who is ruling the roost in the capital city, one can easily predict what will have “Kaapa” in store for us. To an extent, it’s the ‘Prithviraj show’ in this Shaji Kailas-directed film which also brings to the fore the seething rivalry and ever-lasting enmity among goonda gangs in the city. Written by GR Indugopan, the plot is about the impact of Kerala Anti-Social Activities (Prevention) Act (KAAPA) on an ordinary individual and how it affects her family.

The action milieu is safe in the hands of Shaji Kailas but the intensity of narration is not consistent throughout the film. A gripping treatment is what the screenplay demands and the whole texture of the film is slanting towards the brutal acts of Madhu and his gang. Indeed, the tale is promising and has sufficient potential to soar to the next level of experience with an intense approach. “Kaapa” has all the traits of a typical Shaji Kailas film albeit the background score plays a spoilsport in most parts. The bland presentation triggers the desire in a viewer for panting for more to get the essence of the script.

At the outset, the film, which is set in Thiruvananthapuram, focuses on the life of techie Anand Anirudhan (Asif Ali) and his wife Binu Thrivikraman (Anna Ben). From a police officer, played by Nandu, Anand comes to know that his wife’s name figures on KAAPA list prepared by the city police. He also realises that ‘Kotta’ Madhu’s gang had brutally killed Binu’s brother a few years ago. Journalist Latheef (Dileesh Pothen), who was the neighbour of Binu, is creating the impression through his tabloid that a gang led by Binu is still active. A flabbergasted Anand seeks all possible ways to remove her name from the Goonda Act (KAAPA) list. Anand even meets the wife of Madhu, Prameela (Aparna Balamurali), for sparing his family.

As a protagonist, Prithviraj neatly hogs the space by using his aura and triggers the necessary vibe in the flick. The guilt of a goonda is revealed when Madhu meets a teenager, who was exploited by him as a child for committing a crime without tender mind’s knowledge. The scope for performance as an actor is wide open here but soon it is shut as the tale again focuses on goonda vendetta.

Going by the storyline, Asif Ali only has a facilitator’s role in the film and he hardly faces any hurdles in his endeavour. Even as having significance in the plot, Anna Ben’s performance lacks intensity due to the minimal space she gets in the film. Aparna Balamurali too creates an impression in the beginning but it fails to sustain in the proceedings. There is room for predictability in the gangster drama when scenes just appear like part of an assignment before winding up. The climax should have been able to create the ‘wow’ factor but unfortunately, it culminates just as a typical revenge film.   

It is a watchable gangster drama with the usual fripperies associated with the genre. If you search for novelty in it, it is hard to come by.

Verdict: Above Average

“Gold” Review: A real ‘imitation’ that fails to glitter miserably

Writer, editor, stunt choreographer and director Alphonse Puthren’s creative act of pulverising the traditional grammar of cinema continues in his latest outing, “Gold.” The bizarre way of narration and quirky editing reverberate the raconteur’s penchant for embracing a carefully careless approach in his films. But how long viewers can afford to witness such a flashy and repeated unorthodox style of filmmaking? The importance of content is ignored here for the sake of catapulting irrelevant scenes, songs and actors on screen.

Set in the pandemic period, “Gold” begins with a scene where Joshi (Prithviraj Sukumaran), is aroused from sleep by his mother, played by Mallika Sukumaran. She informs him that a loaded mini truck has been parked in their open courtyard blocking the way. That day Joshy is waiting for his new car to be delivered to the doorstep. There is a narrow road that leads to his house situated on the banks of Periyar. A perplexed Joshi informs the police to remove the vehicle parked in front of his house. While examining the consignment in the truck, Joshi realises that it was loaded with mini speakers. His further inspection of the vehicle reveals the exact truth about the consignment. But the mystery surrounding the vehicle and the purpose of halting it in front of the house remains.

A flashback brings businessman Unnikrishnan (Shammi Thilakan) to the limelight. He is gearing up for the marriage of his daughter Sumangali (Nayanthara) with Sunesh Shaji (Ajmal Ameer), son of ‘Idea’ Shaji (Lalu Alex). Then there is a gang, led by its leader (Chemban Vinod Jose), that tries to hijack the vehicle.   

There is the entry of a bevy of actors to the scenes as if they were waiting in the wings to perform on stage! After a brief appearance, they withdraw themselves to the comfort of the ‘green room’ and make a re-entry for an encore. The signature style of Puthren’s editing and shot divisions appears to be an eyesore as they fail to recreate the magic that elevated his previous oeuvres– ‘Neram’ and ‘Premam,’ to the frontiers of higher appreciation. The quirky visuals and random interspersed scenes involving man, nature and creatures create more discomfort than making the film riveting.

The only task of Prithviraj is to transform himself into an ordinary young man residing in a rural village. His domain of performance is mostly confined to the premise of the house, apart from taking boxes from the parked vehicle and keeping them inside his room. Joshi’s interaction with his mother and police officers (played by Baburaj and Sabreesh Varma) provides some relief from the sonorous background music and meaningless random shots.     

Nayanthara, who acts in Malayalam films rarely, hardly has any significance in the film and she chants a few dialogues without any purpose. Desperately, you pin your hopes on the character played by Lalu Alex having enjoyed his humour in his initial scenes. But that hope is also toppled by his following scenes which purely lack imagination. The heated argument between him and Shammi Thilakan over the telephone appears to be puerile and senseless.

The whole proceedings are exasperating with the overstretched plot revealing the futile attempt behind the making of this flick. Finally, “Gold” stresses the importance of strong content and substance in a film rather than ‘playing’ gimmicks by leveraging technology.

 Verdict: Below Average

“Theerppu” Review: Impact hard to come by in watchable revenge drama

Apart from a revenge drama, “Theerppu” is trying to convey a lot more things out of its plot. The mesmerising resort where most of the action takes place has a number of symbols that reverberate our incorrect political views and absurdities. Once again, writer Murali Gopy’s penchant for elaborating an idea or caption or quote or tagline and blending it with the main plot is evident in the film. Here, the film encapsulates the writer’s theory of “the power of the powerless even after their death.”

While director Rathish Ambat of “Kammara Sambhavam” fame has shown justice to the writer’s concept, the sheen of the tale dwindles after a certain point. The dialogues reflect their crisp and succinct nature albeit they are not free from the dramatic influence.  

UK-based businessman Ram Kumar (Vijay Babu) and his wife Mythili (Isha Talwar) come back to Kerala after a hiatus. They stay in their swanky resort at Vadakara where they expect Ram Kumar’s childhood friend Parameswaran Potty (Saiju S Kurup) and wife Prabha (Hannah Reji Koshy) to drop in on them one evening. Their visit is important as Ram Kumar will be signing a deal to tide over Potty’s cash-strapped firm. But an unexpected guest in the form of Abdulla Marakkar (Prithviraj Sukumaran) arrives there and unexpected events occur that night.

Abdulla has a clear plan in his mind as he visits his childhood friends Potty and Ram Kumar. He is also expecting their friend Kalyan Menon (Indrajith Sukumaran) in that resort. The revenge plan of Abdulla is revealed straight away when he reminds Ram Kumar of the treachery shown by his father Vikraman Nair (Sreeknath Murali) to his father Basheer Marakkar (Siddique). The meeting of friends snowballed into a duel between Abdulla and Ram Kumar.   

The setting of the main action in that magnificent interior of the resort is captivating with the major contribution of the arresting visuals by Sunil KS. Prithviraj as a dejected man who lost his family has a neat and convincing outing. Abdulla’s pathetic life is haunted by his horrible past. Considering the significance and fate of the character, Prithviraj has taken a bold decision to enact the protagonist. Meanwhile, Vijay Babu creates a decent impact as avarice and flirtatious entrepreneur.

Saiju S Kurup is extremely apt in that character, who appears innocuous initially but shows his obliterated shades at a crucial juncture. “Theerppu” offers you an engaging and interesting first half, hinting at a journey that is going to be interesting. To an extent, the narration keeps that promise. But here the impact of the climax on viewers is subjective with the final portions may evoke the feeling of a tad less intensity.

Overall, the execution of “Theerppu” is faithful to its concept and gives an interesting format of revenge drama even as the impact is not so invigorated. 

Verdict: Above Average

‘Kaduva’ Review: Familiar template of heroism

Right from the off, a sort of urgency is palpable in the screenplay, written by Jinu V Abraham, to squeeze a conflict into ‘Kaduva’. From a writer’s point of view, triggering a conflict is a snap here as Prithviraj Sukumaran plays the planter-cum-businessman Kaduvakkunnel Kuriachan and Vivek Oberoi appears as IG Joseph Chandy to oppose him. Now, what should be the conflict? In ‘Kaduva’, directed by Shaji Kailas after a sabbatical, the ego clash between two people comes to the fore. 

The invincible hero lives in a big house with his wife and three children. The wait is for a villain, who should act as an impediment to Kuriachan’s comfortable life. Jinu has embraced a trite template suitable for a potboiler and due to his mediocre writing, the subsequent events hardly churn out the emotions of a viewer (not a ‘fan’). Despite the cold plot, Shaji Kailas has accomplished to make his craft felt with the use of racy visuals and stylish camera angles.

Set in the 90’s in Pala, ‘Kaduva’ opens with the narration of a prisoner named Sankaran (‘Pashanam’ Shaji) about the heroic deeds of Kuriachan, who is currently imprisoned in the same jail. All problems begin when Poovanpara Achan (Rahul Madhav), who is also the close relative of State Minister Poovanpara Thomachan (Sivaji Guruvayur), is gifted a piano by IG Joseph Chandy’s mother (Seema). An altercation ensues between Kuriachan and Joseph Chandy in front of the church and it snowballs into a big issue, which eventually forms the central conflict of the film.

Using his power and political influence, Joseph Chandy creates problems for Kuriachan. Besides, SI Dominic Benjamin (Kalabhavan Shajohn) locks horns with Kuriachan. When Kuriachan is in jail, his wife Elsa (Samyukta Menon) and children are harassed by police. Varky (Alencier) and Kora (Baiju Santhosh), the acolytes of Kuriachan, and Kuriachan’s neighbour Victor (Arjun Asokan) chip in offering help to the family.  

The plot is structured well enough to create a heroic aura around the protagonist and Prithviraj shines perfectly in fuelling the onscreen excitement. His mannerisms and body language turn out to be compensatory factors in the faulty tale. The action sequences where Kuriachan’s opponents are bounced off the ground may offer adequate pleasure for fans. Vivek Oberoi is an apt choice as an anti-hero but his acting potentials are least explored in ‘Kaduva’. Oberoi’s character is definitely a typical antagonist, whose fate is predictable when he encounters a massive hero. Quite often, Abhinandan Ramanujam’s visuals make you shift your attention from the scene’s proceedings to the aesthetic values of shots. 

Samyukta Menon has nothing special to offer in her performance while Innocent and Sudheesh appear for a brief time on screen initially. Action sequences are well choreographed and they have not been exaggerated too much for good.

Apart from hailing the hero, ‘Kaduva’ fails to brag of any sort of freshness in its content, which has all the traits of a usual Shaji Kailas film. The script fulfils its routine process of making the mass hero a person, who is mighty and has all immunity. Give it a try, if you are a Prithviraj fan. Finally, I wish Shaji Kailas could give us a better film.

Verdict: 2.5/5

“Bhramam” Review: Soul loses in translation

Nothing less than an edge-of-the-seat gripping thriller would satiate movie buffs when the 2018-Hindi film “Andhadhun,” directed by Sriram Raghavan, is remade in other languages. Those who have already been flabbergasted by the Hindi film’s plot and mesmerised by the stupendous performance of Ayushmann Khurrana as the blind hero, can’t tamp down their level of hopes about its Malayalam version, “Bhramam”. Directed by noted cinematographer Ravi K Chandran, the film tells the tale of a blind pianist, who aspires to emigrate to Europe.

Here, Prithviraj Sukumaran plays the protagonist, Ray Mathews, who lives in a rented room in the upstairs of an old building. He comes across Anna (Raashi Khanna) accidentally and they become close each other. One day, Ray’s concert at Anna’s restaurant impresses yesteryear actor Uday Kumar (Shankar Panicker), who calls at the restaurant. Uday approaches Ray with a request that he wants the pianist to perform a private concert for his wife Simi (Mamta Mohandas) as a surprise gift on the occasion of their wedding anniversary.

The next day Ray visits Uday’s flat and finds that the actor is not there, except Simi. Ray plays some interesting pieces on the piano sans realising that the murder of Uday had happened in the apartment. Simi’s lover Dinesh (Unni Mukundan), a police officer, is also there and he tries to hide himself from Ray. But that evening turns out to be a decisive one in the life of Ray, and eventually, he falls prey to the wicked actions of   people.

The plot is entwined in the struggles of an aspiring musician and the peril he faces after having his presence in vital incidents. The film has adapted screenplay by Sarath Balan and it is intriguing. But the film’s major problem is explicit in its execution. “Bhramam” certainly struggles to unveil its own identity owing to its loyalty hues to the original film. The method of copycat (even some shots) apparently holds sway over the treatment and cinematographer-director Ravi K Chandran seems to be lethargic in creating any exclusive moments for the Malayalam version. The background music of Jakes Bejoy is also on the lines of what we experienced in “Andhadhun.”  

Prithviraj’s presence is a refreshing factor when you realise the paucity of impressive performances from co-actors. The lead character, which fetched National Award for Khurrana, naturally assigns a burden of hopes on Prithviraj and he has shouldered it gleefully in the film. Unfortunately, the initial scenes of the flick are taking shelter in the canopy of overly done dramatic performances.

Jagadish, who plays the doctor, gives a realistic performance to an extent while Mamta, Shankar and Raashi fail to elevate their performances to the impressive level. Since the film’s liability is the much-celebrated original version, “Bhramam” is facing the daunting task of pipping the original in every aspect. Here, the cut-and-paste strategy proves to be incongruous and you really fancy something unique to happen in the narration. The film culminates sans giving any memorable moments albeit its technical aspects are gratifying. The formula of copycat mars “Bhramam” as it tries hard to meet the hype on par with “Andhadhun”.

Verdict: 5.5/10

“Kuruthi” Review: In-house drama exposes social venom!

I believe that one of the skills a screenwriter must possess should be the knack of identifying new pastures for run-of-the-mill themes. While watching “Kuruthi”, which has a trite theme to relate, I realized that its writer Anish Pallyal has effortlessly accomplished it. And his writing is shored up with the right kind of execution by debutant director Manu Warrier. The film discusses a grave and social issue, which has its relevance in modern times. Hinging on Hindu-Muslim conflict, the flick tries to portray the perilous situation lingering on in the society. It also exposes the veiled religious poison that is intended to snuff out the virtue from human minds.

Well, the above description itself gives you a déjà vu feeling. Produced by Supriya Menon, wife of actor Prithviraj Sukumaran, what is good about this film is that the writer has given the run-of-the-mill theme an aesthetic touch with succinct and meaningful dialogues delivered by characters mired in a quagmire.

The film follows the life of Ibrahim aka Ibru (Roshan Mathew), who is leading a peaceful life with his father Moosa Khader (Mamukkoya) and younger brother Rasool (Naslen). Ibru is haunted by the thoughts of his wife and daughter, who have lost their lives in a landslide. The pain of the horrific tragedy is also borne by his neighbour Suma (Srinda) and her brother Preman, who had lost his wife in the landslide.           

Suma has a crush on Ibrahaim, who half-heartedly reciprocates as they belong to two different religions. She serves food to Ibru’s family and she even does the chores. The initial setting shows the depth in the bond between the two families. One night a Sub Inspector of Police, Sathyan (Murali Gopy), knocks at the door of Ibrahim’s house. The officer brings a handcuffed culprit with him and he wants Ibru to make arrangements for their stay in the house at night. Reluctantly, Ibru agrees to it. After sometimes, Kareem (Shine Tom Chacko) enters the house with a mysterious purpose in mind.

Kareem’s entry to that house is followed by the appearance of Laiq (Prithviraj Sukumaran) there. Obviously, Laiq is a youth with religious fanatic ideals and he tells Sathyan to release the arrested person, who had murdered a Muslim shopkeeper. Now Ibrahim’s family, including Suma, who had come there to serve food at night, realize that they are trapped.

The plot attains a different mode from then on and we see the aggressive passions of individuals. The people inside the house are a cross section of the society as we witness the true colour of some characters when they talk about their religions. They are tropes representing all the vices prevailing around us. Even Rasool, a teenager, has radical thoughts, which are effectively infused in him by Kareem. Laiq unleashes the violence and his blood-craving eyes expose the villainy in him.

Prithviraj seems to be trying too hard in bringing out certain histrionics in the character. As an actor, Prithvi faces the dilemma of lack of special moments for him in the screenplay. But it’s laudable that he has chosen the befitting role with negative shades irrespective of the scope for performance. Roshan, who has already proved his mettle as an actor, steals the prominent performance part of the film. He impressively exudes the conflict, pain and dilemma of the character sans resorting to dramatic vibes.  

Among the characters, Moosa stands apart as he talks sensibly and depicts the futility of fighting each other in the name of religion. After a long gap, Mamukkoya reinvents himself the actor in him and his dialogue delivery creates the desired impact more than his body language.

The film subtly conveys how hatred is being transformed from one person to another. The familiar theme gets placed in a new milieu— around 90 percent of the film is set inside an old house — where emotions of various kinds are triggered by the topic ‘religion’. Manu has made a good attempt in his directorial debut even as the dramatic elements are on a higher mode here and there.

Abinandan Ramanujam reiterates his striking visual sense once again through appealing frames. Most of the shots are conceived in the background of night and they have aptly aided the plot. Jakes Bejoy, who has composed music, gets into the mood of the tale by identifying the mystery in it.

Despite the cliched theme, the movie offers thrilling and engaging moments. By standing on a different platform and milieu, the flick has a message to convey that how hatred or intolerance obliterates our life. In fact, it’s going to eliminate our virtuous traits as a whole!

Rating: 7.7/10

“Cold Case” Review: A wholesome skin-deep affair

Well, the penchant for supernatural elements goes on in our films. The latest addition is Tanu Balak-directed “Cold Case”, which an investigation thriller with a dollop of horror elements as add-ons. The plot is obviously a curious one with intriguing fragments taking their places in it. The flick’s opening scenes showcase the practices of exorcism that prevail in various religions. Apparently, the paranormal activity plays its perfunctory part in the film, and thus, making us scowl at its relevance in the tale quite often.

The film has a riveting beginning when a fisherman gets a human skull from the lake. A police team led by Assistant Commissioner Sathyajith (Prithviraj Sukumaran) starts the probe with Neela IPS (Pooja Mohanraj) and CI Siyad (Anil P Nedumangad) assisting him. At the same time, in another part of the city, Medha (Adhithi Balan), a TV journalist, shifts to a rented house with her little daughter Chinmayi (Ester Evana Sherin). Medha is trying to get divorce from her husband and now, her mother Padmaja (Mala Parvathy) is her sole solace. Meanwhile, Medha has a close relationship with lawyer Haritha (Lakshmipriya Chandramauli), who is appearing for her case at the family court.  

After a few days, Medha, who is also bearing the pangs of her sister’s suicide, experiences bizarre scenes in the new house. Along with a colleague, Medha approaches a paranormal investigator, Sara Zakhai (Suchithra Pillai). This meeting leads her to search for a woman named Eva Maria (Athmiya). Interestingly, the police team also arrives at the conclusion that the skull belongs to a woman. The parallel investigation by the journo and the police reveals vital details about the victim. 

Written by Srinath V Nath, this languidly treated film hardly offers anything worthwhile in terms of the acting prowess of Prithviraj. As a police officer, his mien is perfectly apt despite the pace of the film is seemingly enervating.  The investigation process is interesting due to its authentic portrayal. But when the narration is interspersed with the life of Medha and her harrowing encounter with the supernatural force’s presence, “Cold Case” really becomes a cold experience.

The structure and narration of the thriller is traditional and the depiction of supernatural part is also not far from it. The pace in the narration is nowhere in harmony with the requirement of the theme. Tanu Balak overlooks the possibility of bringing in novelty in the treatment, albeit he embraces the textbook style of filmmaking in his first outing as a filmmaker. The film lacks the vital energy in every part; be in performance or in the making.     

In her maiden appearance in Malayalam, Adithi (Tamil film “Aruvi” fame) gives a satisfying performance within the limitations of the characterisation by the director. Being an investigative thriller, significance is given to major characters, including Chandrabhanu (Alencier), who is the only relative of Sathyajith. Athmiya hogs the second half of the flick due to the importance of the character but her contribution as an actress is mediocre. (You can only blame the scenes without much dialogues given to her!).

Cinematographer Girish Gangadharan has lent an intense effort in making frames appealing. Prakash Alex, the music director, sticks to the familiar and trite tunes of thriller movies instead of creating something fresh and interesting. In short, “Cold Case” traverses through the road that has taken umpteen times!

Rating: 5.7/10