Film Room

Kohinoor is a light-hearted heist film set in the nostalgic Golden Times of Mollywood – the 80s. The introduction build-up of Asif Ali, clad in the pilot’s costume of Mohanlal’s Irupatham Nootandu, groomed in the hairstyle of Mohanlal and pitching his admiration towards Sagar Alias Jacky and Tharadas attracts the attention of Malayalee audience. Moreover what feels special about the film is the graceful and appropriate panoply of 80s Kerala in the film. The director Vinay Govind has neatly etched out the era with great finesse. Similar Malayalam movies which dealt with the same style of narrating an yesteryear story in the present time had disastrously failed; say Venicile Vyapari, Nayika, Basheerinte Premalekhanam, Varthakal Ithuvare etc. The frames of Pradheesh M. Varma was elegant in appeal and artistic in compositions. Asif Ali was a perfect handpick as the film’s titular character. Aju Varghese also shares the same grades with Asif Ali. Vinay Fort proved himself a miscast through his anglican-styled Malayalam. Chemban Vinod Jose was apt in his mannerisms and looks as a civilian of 80s Kerala, especially during the second half. Indrajith ended being a typical anti-hero which he had performed in most of his films, but like always he has done justice to his role. Aparna Vinod as the love-interest of Asif Ali was a wrong selection, as her expressions were forced and artificial. Rahul Raj, the music director and the background scorer deserves real praise for his melodious romantic track and pulsating BGMs. Hemanthamen was a next-level romantic track which surpassed the then viral Malare track of Premam. The scores had the reminiscences of the bygone era. One thing the audience will strongly remember from this film is its evergreen romantic track – Hemanthamen. The story moves on like a high-range drive. Sometimes it rises with well-written scenes, only to fall steep in the following flawly-written scene. With a light-hearted first half, the second-half finds itself in a rush to hit to an end. Humour is carefully handled, though it falls in some scenes. The anti-climax was thrillingly woven though certain contrived twists spoil the pace. Kohinoor is heavily dependent on its very much skilled Art Director – Ajay Mangad and Costume Designer – Sameera Saneesh. Without them the film would have been a question mark. The sweaty works of the Art Director and the Costume Designer is evident throughout the film, and always outnumbers the story and its actors. The Kohinoor Textiles was so lifelike that it welcomed the audience to rove & roam around an yesteryear textile shop. The cloth-scrolls, sales-desks, ornate-ceiling, wallpapered floors, wooden furniture etc all had the stamp of the 80s. Ajay Mangad has perfectly built the pillar of the film. The costumes were so outdated that it carried the style of the 80s. From men’s formals to casuals and women’s traditional to modern attires, Sameera Saneesh has very well woven the warp and weft of the film. Sometimes, well-crafted films like this substitutes the never-found time-machine. Story: 3.7/5 Direction: 3.9/5 Cinematography: 3.9/5 Music: 4.5/5 Costumes: 5/5 Art Direction: 5/5 Colour Grading: 4.5/5 Poster Design: 2.7/5

Malayalam Cinema has changed over the years. The 80s & early 90s had great stories, but lacked in visual appeal, sound effects & cinematic aesthetics. But today’s most Malayalam films are rich in realistic frames, ambient colour grading, artistic poster designs, true-to-life sound effects but lack in stories to tell. Today’s movies are propelled by the aid of technical brilliance, not by the skilled narration of a good story. Operation Java belongs to such a kind. The effort of the director and the cinematographer is very much evident throughout the frames, resulting in a smooth and steady visual narration. Balu Varghese dons an atypical character, undressed from his typical foul-mouthed freak cape. Lukman too gave out fair acting, but spoiled certain vital info-dialogues with his unclear pronunciation. Operation Java has three segments – Premam Case, Fake Job Recruitment Case & Murder Investigation. In these, only the Premam segment stood out, as it piqued the spectators’ interest. The second segment was hardly digestive, as it migrated the spectators to Chennai and gave the vibe of Irumbu Thirai movie and other Tamil thrillers. The third segment was truly deviative, it was like somebody had suddenly changed the channel. The music and scores sounded average. The costumes were fine, except the civil-clad policemen who wore shades on duty. Irshad gave a fine output as the composed chief officer, Binu Pappan was the second-in-command, though being typecast as the bold and raw khaki-officer. Shine Tom Chacko was misfit as the Circle Inspector, his demeanour, voice and mannerisms were bereft of natural police attributes. The role of Vinayakan was a needless essential. Though he mastered his role and meted out his finest performance, his character offered nothing to the story’s progress. Operation Java is a film inspired from true-to-life events. The film speaks about the uncredited roles of skilled temporary staff who find breakthroughs for various cases. The message is well-appreciated. Also the tragic climax was apt for the essential impact. But apart from the thematic & social-relevance factor, one does not receive the cinematic feel. The main problem with based-on-a-true-story films is that they lack imaginative inputs. One feels like reading a news report rather than watching a movie. Story: 1/5 Direction: 3/5 Cinematography: 3.2/5 Color Grading: 3.4/5 Music: 1.3/5 Poster: 4/5

I don't understand the people who praised this movie. Have they been diagnosed with a disorder? Recently useless films are getting unworthy praises. What happened to the Malayalee audience? I realised I am brave enough, after fully watching Kumbalangi Nights without any forwards. Even my philosophy classes weren't so boring. The scenes are utterly sluggish. The plot is stretched. Albeit the acting is class, the sluggish script takes that credit away. The film initially was an art house product, but Fahadh's performance and market value made it into a mixed breed of art and commercial. The over realistic script spoils the movie. The entertainment factor is very low. The movie heavily depends on Shammi's character. The audience too woke from their sleep and boredom at the climax and chanted along "Shammi hero ada". For real Shammi (Fahadh) is the actual hero that saves the movie. The cinematography and framing was a visual treat. The gorgeous visuals distracted many from the boring narration. Shyju Kalid's works are always appreciable in all movies. The costumes had a realistic touch aggravating the plot. The colors often blended with the situation the film narrates. Recently the writer of this movie Mr. Shyam Pushkaran criticized legendary writer Mr. Srinivasan's script and movie. Penning a few films does not make one eligible to debase a legendary writer. Srinivasan's script had both commercial elements and classic elements. He knew to balance both elements and treat and teach the audience with his scripts unlike Shyam Pushkaran. Kumbalangi Nights is highly overrated and does not amplify the feel of watching a movie to the audience. Kumbalangi is hardly watchable and casually avoidable. Follow our Instagram page @filmroomofficial for more reviews.