LitScreen - Krishna Sunder

Jeo Baby’s “Kaathal-the core” is a true plea to the society for inclusion. Being garnered around a completely different theme quite alien to the Malayalee audience, “Kaathal” is a bold attempt to revamp the social stigma associated with one’s sexual inclination. The story subtly unfolds how heterosexuality intrudes into the psyche of many a group whose orientations differ. The movie is a message to the society which still considers certain inclinations as normal and any other beyond that as abnormal. The inclusion of this diversity has been a dream since time immemorial when society along with religion defined it as a taboo. The finesse of the movie is about how it constructs a love story in silence while deconstructing another with enough food for thought. Mammotty, as always had been, handles the delicate role that sways between trust, betrayal, love and rebuttal. Though a man of few words, Mammoty’s character Mathew Devassi’s silence speaks volumes. Jyothika in the role of Omana delineates a fervour of maturity coupled with a sense of belongingness within her alienated space . The father figure stands as a testimony to the many fathers who would have swallowed realities and pushed their children towards what appeared true for them. The movie rather than its aesthetic side cuts deep through the social prejudices and how mindsets need to be changed rather than constitutional rights. The movie tastefully tells that the areas of love cannot always be black and white and that it often ranges amidst areas of gray - inexpressible and indescribable. The movie carries a very strong ending where the rainbow symbolises a hope for inclusion. Thankan’s deep smile at the end is a triumph for the huge majority who had been hiding behind a veil for centuries many. Cheers to the team for handling such a complex theme into a digestible form for the audience. The movie indeed is a breakthrough for Malayalam film industry and “Kaathal” is definitely going to be a trailblazer. You should not miss this movie…!

“You” is an amazing piece of work which you shouldn’t miss. A causal start actually took me forward with a roller coaster ride of 4 seasons. Joe Goldberg, the Anti hero is so loveable and the plot bends you towards the aura of the psychological meanderings of the protagonist. Whoever u r or whatever u had been through, you would reserve a portion of love for this Anti hero. Penn Badglay has really nailed it with his sarcastic diction, lousy eyes and perfect idiosyncrasies within his role. Guinevere Beck was really lovely though Love Quinn proved to be a more surprising match for Joe. It’s highly thrilling and will keep you at the edge of the seat and by the time you finish each season, you would be falling in love with our protagonist, Joe more and more. Moreover, the fictional Madre Linda was a beautiful place. You can have a clear ride through America, UK and France through this series. I loved this series to the core. We definitely need season 5. We r all waiting for that. Do not miss this series. It’s ever trending. !!!

“Anugraheethan Antony” is a must pick during the corona days as a warm entertainer amidst the much hyped movies around. Quite often, we are enveloped in a busy world that the importance to certain minute details and ties in our life gets into oblivion. This movie is a reminder to the beautiful days we enjoy here despite the heaviness with which we look at it when we are alive. Located in a picturesque hamlet with a few simple characters, the movie drives forth a simple message through a fantasy world. Though the storyline swirls around an unbelievable stretch of incidents, the style of the narrative along with its presentation makes it a wonderful ride for two hours. Sunny Wayne plays the role of a run on the mill irresponsible young guy who topples down the expectations of his father, played by Siddhique. Though the storyline is quite predicatable initially, the meandering tale takes us to a whole new world of experiences. Moreover, the way in which the plot gets presented makes it all the way different from the usual fantasy movies. The theme of after-life and how the complicated ties of family works before and after death become the core line of the plot. The inherent message of “Carpe Diem” or ‘Live life to the fullest’ is one of the greatest messages that the movie delivers. Wayne has definitely come a long way in his acting career and his romantic gaze is more or less fitting to the character which holds a lot of comic contours. Jafer Idukki, Suraj Venjaranmoodu, Muthumani , Baiju and Shine Tom have cast their brilliance in their own way. Undoubtedly, Siddhique - the veteran of Malayalam industry- rules the entire domain that he touches. The movie in a nutshell is how the hero unwinds his past and tries to reassure the life of his close ties even after his demise. The movie indeed is a looking glass towards the much debated concepts like Death, After life and Resurrection. The presence of the two dogs within the framework has indefinitely contributed to the making of this movie and has inadvertently shifted the perspective that Malayalam industry too can accommodate large scale animal cast despite reducing the importance of the characters. Gouri Kishan as Sanjana too marks her lead with her solemn presence though much of the dialogues from the screen do not incline to her side. The movie has light undertones with the old Malayalam movie “Pappan Priyapetta Pappan” and “Kuttanpillayude Shivarathri” though the sweep here is totally different. All said and done, the movie is a must watch and the climax was brilliant in an extra ordinary way. If you are planning to watch it through the lens of realism and rationalism, this movie is not for you. The movie is definitely a warm take on relationships and new perspectives along with its massive message which quite often go unnoticed in our busy world. Highly Recommended!! It’s a pure entertainer with a solid message to unwind ourselves and to rethink the way we lead our lives today...!!

Jude Anthony’s Sarah’s is definitely a new take in Malayalam industry on the definition of contentment and fulfilment in human life. Quite often human life, especially a woman’s life, is measured and equated in a social context in terms of marriage and motherhood. The movie has an ‘out of the box’ message to serve and it serves it well. More than an entertainer, Sara’s tries to educate its audience through a changing world of shifting lifestyles. Sarah and Jeevan sail through the waves of love towards a marriage which finally troubles their conscience with an accidental pregnancy. The story further unfolds the complicated decisions they have to make and keep for their own happiness as well as for the society and family around. The story swirls us through a new dimension, waking us up to a new thought that all human beings are not meant to be parents and all marriages need not end in children . The movie portrays the delicate and intricate layers of parenting and the real need for a mental and physical preparation before you really get into it. As with most marriages, pregnancy comes as an unwelcome guest and the course moves ahead just like any other trivial matter without much preparatory work. The movie is a real eye opener to those set standards of society where every woman should become a mother despite her interest and needs. Anna Ben, as usual, sparkles in her role as Sara and Sunny Wayne does a good job to cement the subtleties of his character. Though in a guest appearance, Siddhique summarises the crux of the whole message inclined to be delivered to the society. The movie is brilliantly done in simple ways and is indeed a mouth sealer for all people around us who keep arguing for marriage and motherhood as a “must have” of life. The movie underlines the very truth that different people will have different goals in life and for at least some of them, motherhood and parenting cannot be something they pine for. All said and done, there is a question that haunts the viewers where the right to live is completely denied from the perspective of the unborn child. But let’s place the blame on contraceptive failure....!! :( The movie will not put you to boredom. It’s a feel good movie with a very strong message for our society. Do not miss it.

“Cold Case“ directed by Tanu Balak is definitely a good pick during the home bound days under the pandemic. The movie is nothing but a run on the mill investigation thriller. But what makes it different is the chain of links that clink together to a cognitive logical unfolding. Prithviraj in the role of Satyajit is outstanding with his usual poise and elegance. Medha played by Aditi Balan too appeared strikingly credible. The tranquility of the locations and the swing of camera through the panoramic landscape is an added highlight of the movie. The movie will keep u pinned at the edge of the seat and unlike many investigation thrillers which fail to box up the suspense, this one does the job in a pretty beautiful way. There are a few jump scares which can tilt you from you chair. Beware ! However, it is more glued to the thriller genre rather than a horror. ‘The unpredictable next moment’ had been the key to the core of the film and the cliffhanger ending too contributed to its unrelenting depth. Doubtlessly, this is worth a watch. Go ahead ...!!

Minari is an evocative take on the American Dream that persisted during the early 80s. The story unfolds through the struggles of a Korean family who shifts to the interiors of Arkansas with a dream of farming and survival. The tale hits the roads of familial ties, mutual affection, togetherness and above all the conflicts that lurk within minds. Steven Yeun plays the role of the strong protagonist who is keen for his goals while Han Ye-ri shows her mettle through the steadfast role of the mother in her. The Grandmother played by Yuh-jung is a marvel to watch. The kids too contributed to the brooding survival strategies enveloping them. In a nutshell, the movie is a simple mirroring of immigrant life and the associated troubles. The movie might not suit adventurous minds with a fast pace. Rather it devours the time in slow paced power with a transparent depiction of individual, family and social space. It’s a must watch for a matured mind to comprehend the realities lying beneath the life of immigrants and how they contribute to a cultural hybridity in the younger generation.

The recent Malayalam thriller “Nizhal” has hit the screens with a blast that deciphered a psychological mystery. However, keeping in mind the beautiful visuals and aesthetic camera perspectives, the plot dilutes to an illusory nothingness as the movie comes to a close. The first half was magnificent enough by keeping the viewers packed to the guesssing game of “what’s next”. Having said that, the second half failed to keep it huddled as the final part crumbled with no specifics or clues being utilised. A few concepts and devices which could have been a “Macguffin” in the second half were completely ignored. The black mask, the claustrophobia, the underneath enquiry on the protagonist etc.None of these in fact contributed to the development of the plot and got scraped off easily without a convincing answer. There were also a few characters which could have been easily avoided to bring a fullness to the existing story line. On an overall basis, the movie was good as a visual treat and was triumphant enough in building the suspense step by step. It’s neither a ghost story nor a spooky tale clad in jump scares. Nevertheless, it is a good entertainer if you are not in for much credible and convincing thoughts. It’s a good watch if you can keep a lot of unanswered questions to the margin and watch it as a detached observer. Without a doubt, you will be stuck to your seat till you witness the final dilution and start thinking what the whole drama was for. Despite all the odds, it is an entertainer which can keep you glued for two hours if nothing serious waits you on the other side.

Edged on a social criticism, Martin Prakkat’s “Nayattu” is one of the best punches to hit in 2021. Peppered with the sullen realities of life and the delicacies in which humans often cling on, it depicts the undying spirit of true human beings amidst social and political pressures. Jabbed within the context of how realities take shape as per the requirements of a few sinister hands, the movie is a reality check to every living citizen within the larger context of Democracy. Joju George, as usual, is unsurpassable. The nuances in his dialogue delivery,the rhythmic pauses and even the timed silence he pours, reflected the miasmic flow of the action-line. Joju’s “Maniyan” was so so original beyond a shadow of doubt. Kunchako and Nimisha, on a different level, portrayed a poised-balanced parade of their characteristics. Jaffer Idukki was highly impressive with an air of arrogance and the level of pride that can always reside within the realms of power. Far away from the super heroic cliches, Prakkat manages to place the ordinary protagonists in a quotidian pedestal of challenges thereby criticising the existing society around us. The movie looks into familial ties, mental conflicts, dwindling moral codes and the question of ethics in the Professional space thus screaming for genuine introspection. Spiced with raw realities, true characters and a paced plot capable of building the suspense gradually, “Nayattu” is a must watch for every ordinary citizen.

Mahesh Narayanan’s “C u soon” is a must watch for all movie geeks during corona times. A gripping tale that sticks you to the chair you are seated in.....!!! May be this is the first time a Malayalam movie is portrayed completely through the perspective of chat boxes and screen orientations. Intrinsically rich, craftfully executed, mindblowingly perceived - this is indeed a new start for Malayalam industry to think out of the box in thwarting the conventional concepts of standpoints. The coherence that fills in throughout is commendable as there are just a few scenes where characters originally stay huddled. Despite the overwhelming screen visuals, the story never hits a monotonous turn and captures the essence of the plot in its complete vitality. To top it all, the final social message that filters in gives us enough food for thought. Fahad Fazil, as usual, has come out with his extraordinary brilliance in keeping the pace of the movie. Roshan Mathew’s ascendance towards the filmic ladder is definitely inspiring as it is steady through the years and unhurried. Darshana fits in perfectly with the aura of mystery clinging around her which unveils lately. The perfection of the chats that correlate and the screens that very well merge with the story cannot just swirl without appreciation. It has to be mentioned that the movie wields an extra applause as bringing a story into life through chat screens and Online video calls would not be a walk in the park especially amidst covid pandemic. The story might be slightly quick for those who are not technically adept and might take a little bit of time to swallow and place the links at connecting ends. However, the thrill to comprehend “what’s happening around” will make your sail easier. Mind blowing performance, skilful execution, brilliant coherence, meticulous juxtaposition of varied screen scenes and what not...!!! Do not miss this movie .....!!!

Being the first ever Over The Top (OTT) release in Malayalam movie Industry, “Sufiyum Sujatayum” was a much anticipated movie of the year despite the covid-times. The released trailer unquestionably induced a temporal shift towards a magical haven where the unseen would wrap the unheard. This movie definitely is a chronicle of an all-pervasive romance that implants a sense of ubiquity cherishing the trails of amorous roots within an individual-spirit. However, the movie could not fulfil its promise to a greater extent considering the strength of its plot in its unified blend. The overwhelming musical cavalcade and the picturesque serenity of the locations were indeed traded with the internal consistency of the plot. “Sufiyum Sujatayum” is definitely a visual treat and the experience would have definitely doubled undoubtedly with a theatrical release. Nevertheless, the plot in its complete sense does not flame up to extricate the seeds germinated within this potent romance. The exceptional romantic fervour somehow droops down and gets arrested for a further reverberation of its fierceness. Dev Mohan, as a debutant fits flawlessly for his role of Sufi as a detached, distant character whose expression begins and ends with his legend of love. Aditi Rao becomes a paramour of grace and an icon not through the way in which her character unfolds, but with her refined, emphatic Kathak subtleties. The veterans of the industry, both Jayasurya and Siddhique handles their roles in the most convincing and unexceptional traits. Wean them out of the plot and the integration of the work automatically falls flat. Though the movie is an unsurpassed tale of love, it digresses at occasions many and takes a wild turn protruding into nothingness. The contemporariness of the society could be pulled in convincingly but the communal fractions or the spasms of a long-lost love could not be sketched well enough. The redundancy of the sequences which girdled the love between them turned to be one of the factors which placed the strength of the work at jeopardy. The romance turns sloppy further in its progressive track and loses its preciseness towards a well-knit structural purity. The final question that remains in the mind of the audience is what this Movie was all about. The emotional solidarity which could have been well established in a romantic tale gets confused with manifold digressions and extraneous impacts. Nonetheless, the Background score as well as the musical nuances by M. Jayachandran was mind-blowing. Anu Moothedath, on the other hand, deserves a great applause for his Camera frames and Cinematography. The editing by Deepu Joseph also stands commendable. The directorial part too had done justice to the way in which the movies takes a very engaging turn. Despite these peripheral charms that entice the audience, the final take-away from the movie remains as a huge question mark. All said and done, the movie is a quintessential magical tale depicting a relationship which soothes your eyes as well as your ears and captures your attention till the end. If we are to pertain ourselves to the motto of Sufism, the film fails to find its “inward dimensions” to the real effect. Despite the panoramic frame of visions and mesmerising background score, the plot withered in many areas and could not fringe the solitary vigour of the romance on which the entire story had been hooked upon. Engagingly crafted and masterfully directed, the movie will surely keep you entertained despite its lack of coherence with the theme it upheld. It does supply the catalyst for entertainment, but not the subject.