Monday, July 25, 2011
Film Star
What do you call a film that is terribly confused and actually not sure of what it wants to deliver? What would you term a film that is not sure of itself and that switches from one mode to the next, hoping all the while to eventually deliver the goods? You call it 'Film Star'.
We begin with the impression that this is going to be a film about a wannabe scenarist Nandan (Dileep) who has been striving hard to read out his script to Superstar Surya Kiran (Kalabhavan Mani) for the last couple of years. Finally he does meet Surya, but is shown the door in no time. Dejected he disappears, leaving the script with the actor.
Shaping a career in films could be a tough game indeed. But imagine your surprise when you realise that this movie isn't about film making at all. Its about more critical issues like expansion and its pitfalls, and at a deeper level, plain exploitation.
Confused? Nandan has scripted a film based on his own life, and how he and his fellow slum dwellers were forcefully displaced from their homes, when a factory was established n their small village. Those who had opposed the establishment had become martyrs, and Nandan himself had lost his hearing and half a leg.
Surya Kiran decides to film the script, and the actor along with his crew heads for the said village to start shooting. For those of you, who wonder if the actor hasn't heard of shooting sets, let me tell you that Surya Kiran has some ulterior motives in mind.
The first few minutes of the film has none other than Suraj Venjarammoodu in the role of a car thief, and you wonder if this is going to be a crass comedy. No, its not, as Suraj Venjarammoodu vanishes without a trace, making us wonder if his was a cameo appearance.
Talking of cameos reminds me of Dileep himself, who does just a little more than a guest appearance. I am still at a loss as to why he had agreed to do the role in the first place; a role that could easily have been done by any supporting actor. Salim Kumar too makes an equally brisk entry and exit.
You remind yourself that is a movie that deals with movies, when you see Rambha on screen playing herself. Fans, do not keep your hopes high, since she's there barely in a song and in another scene. Mukta George is there as well, in a much lengthier but not necessarily a meatier role.
I do agree that a superstar who is busy doing commercial masala flicks might dress gaudily for his films. But what excuse does Kalabhavan Mani have for those showy, gross costumes that he otherwise flaunts on and off the sets?
Film Star is an utter disappointment all the way. As an entertainer it neither entertains and as a film it neither interests nor inspires.
We begin with the impression that this is going to be a film about a wannabe scenarist Nandan (Dileep) who has been striving hard to read out his script to Superstar Surya Kiran (Kalabhavan Mani) for the last couple of years. Finally he does meet Surya, but is shown the door in no time. Dejected he disappears, leaving the script with the actor.
Shaping a career in films could be a tough game indeed. But imagine your surprise when you realise that this movie isn't about film making at all. Its about more critical issues like expansion and its pitfalls, and at a deeper level, plain exploitation.
Confused? Nandan has scripted a film based on his own life, and how he and his fellow slum dwellers were forcefully displaced from their homes, when a factory was established n their small village. Those who had opposed the establishment had become martyrs, and Nandan himself had lost his hearing and half a leg.
Surya Kiran decides to film the script, and the actor along with his crew heads for the said village to start shooting. For those of you, who wonder if the actor hasn't heard of shooting sets, let me tell you that Surya Kiran has some ulterior motives in mind.
The first few minutes of the film has none other than Suraj Venjarammoodu in the role of a car thief, and you wonder if this is going to be a crass comedy. No, its not, as Suraj Venjarammoodu vanishes without a trace, making us wonder if his was a cameo appearance.
Talking of cameos reminds me of Dileep himself, who does just a little more than a guest appearance. I am still at a loss as to why he had agreed to do the role in the first place; a role that could easily have been done by any supporting actor. Salim Kumar too makes an equally brisk entry and exit.
You remind yourself that is a movie that deals with movies, when you see Rambha on screen playing herself. Fans, do not keep your hopes high, since she's there barely in a song and in another scene. Mukta George is there as well, in a much lengthier but not necessarily a meatier role.
I do agree that a superstar who is busy doing commercial masala flicks might dress gaudily for his films. But what excuse does Kalabhavan Mani have for those showy, gross costumes that he otherwise flaunts on and off the sets?
Film Star is an utter disappointment all the way. As an entertainer it neither entertains and as a film it neither interests nor inspires.
Salt n' Pepper
It has been about a day since my taste buds fell in love with Aasihiq Abu's Salt 'n Pepper and they are yet to get over it. You would see what I'm talking about, when I tell you that I drove around a drowsy city after a late night show, frantically hoping all the while to hit a food joint somewhere, where I could settle down in some corner, and eat, eat and just eat.
Kalidasan (Lal) is an archaeologist who is equally obsessed with food, and the smell and feel of the past. Maya (Swetha Menon) lives in another corner of the town, and has to put up with a job as a dubbing artiste that she enjoys, but which is often contrary to her beliefs. The two strike up a conversation that doesn't go too well, after one of Maya's calls to the local Dosa guy ends up on Kalidasan's mobile. Hate slowly gives way to affection, but when they decide to finally meet however, Kalidasan on the spur of the moment sends over his nephew Manu (Asif Ali) instead. And, Meenakshi (Mythili), Maya's roommate, volunteers to make an appearance on her behalf.
This is perhaps the first film that I have seen, where an entire audience smacks their lips in anticipation, barely two minutes into it. This is a dream-come-true film for any foodie out there, but even for the others there is no escape from the drool and dribble. Get ready for some real flooding in your mouths, as almost everyone in the film digs into food, and more food.
Having struck up an affinity over the telephone, Kalidasan proceeds to let Maya into the secrets of baking a Joan's Rainbow Cake. Made by a French soldier's wife as the Second World War raged on, and as she anxiously waited for her husband's return home, the sumptuous cake with strawberry, pistachio and orange layers placed one over the other, is topped all over with delicious chocolate sauce. Kalidasan and Maya bake their own versions, and the world around them turns a tad sweeter.
Kalidasan almost undergoes a teleportation, courtesy the Unniappam that proclaims Babu's (Baburaj) culinary skills. Almost everyone at the beauty parlor that Maya's house owner (Kalpana) runs, bites into her juicy banana fries with a vengeance. Manu stares at Meenakshi round eyed, with the froth of a hot cappuccino plastered over his upper lip. Balakrishnan (Vijayaraghavan), an officer at an excavation site, explains the impact of a steaming hot tea, after a terribly drunken night. And even the lecherous technician who's after Maya at work, chews into a drumstick in his Sambar as if there is no tomorrow.
As much as the film is about food that comes in all possible delectable forms, it's about several other things as well. It's about the lives of people who love to bite into something scrumptious and lose themselves in the glory of the moment. It's about people unearthing themselves, and on their route to discovery coming to finally comprehend, what they really want from life.
There is so much to be said, of each of these adorable characters. Maya is a struggler striving to confront her own insecurities, and constantly challenging herself to prove that better days lie ahead. She gets the jitters on a driving test, and eventually does grab the driver's license. She takes one hard look at herself in the mirror, and tries to come to terms with the fact that men aren't in love with her any more. And it doesn't help much, that they are lusting after her instead.
Kalidasan has been busy gorging on anything that he could lay his eyes on, and all on a sudden finds that the ground has turned slippery, as he starts yearning for companionship. He is a Self-doubting Thomas all right, and the salt on his beard isn't reassuring to him either. There isn't a flavor that escapes his savory tongue, and yet the tang end essence of human relations remain almost alien to him. Until he meets Maya.
I especially loved the wholehearted, keen servitude that characterizes Babu. Over the years, he has comfortably imposed wifely duties on himself, and is every bit what his employer wants him to be. Moopan (Kelu Moopan) is a silent spectator from another culture, who merely has a toothless grin as an answer to most questions. And who would forget K T Mirash (Ahmed Siddique), the irksome, on-your-back guy who eats into your ears with undecipherable, nonsensical advice, as much as you are trying to vigorously shake him off. Last but certainly not the least, there is the dysfunctional radio in Kalidasan's retro Premier Padmini, that jumps into life each time the car runs into a ditch. It soon dies out again, but not before playing a song that adds a little bit to the story.
Performances are uniformly splendid, and Lal and Swetha Menon head the lot, with feats that are crisp and quite crunchy. Asif Ali and Mythili whip up some real fresh cream with thick sugar syrup. Baburaj has some real spicy fries in store, that are downright yummy. Ahmed Siddique pours over some steaming soup that's sweet and sour. And the rest of them see to it that the garnishing is perfect.
Shyju Khalid, with his apron right on spot, has captured perfect frames that make Salt 'n Pepper, a visual delicacy. Saajan wastes no time, mincing it all up and slices and chops with precision. There is no one perhaps better than Sameera Sanish who knows what the right blend of colors can do on the dinner table. Bijibal and the rock band Avial have mixed up mint and cinnamon with their musical scores, and the very special 'Kanamullal Ulneerum' pours honey over raisins.
Aashiq Abu and his team (that includes the fantastic writers Syam Pushkaran and Dileesh Nair) adhere to the golden rules of good cooking, and see to it that the griddle is all hot, before they gently spread out a light hearted Dosa story on it. The batter is rich and consistently textured with much mirth and laughter and it settles down on the tava, with a sizzling hum. They grease it a bit further with a dollop of emotional butter that melts all over it in no time. Just as the crust turns firm, they flip it over, and let it turn a golden brown on both sides. And once done, roll it over to a swank platter, and serve it piping hot.
Kalidasan (Lal) is an archaeologist who is equally obsessed with food, and the smell and feel of the past. Maya (Swetha Menon) lives in another corner of the town, and has to put up with a job as a dubbing artiste that she enjoys, but which is often contrary to her beliefs. The two strike up a conversation that doesn't go too well, after one of Maya's calls to the local Dosa guy ends up on Kalidasan's mobile. Hate slowly gives way to affection, but when they decide to finally meet however, Kalidasan on the spur of the moment sends over his nephew Manu (Asif Ali) instead. And, Meenakshi (Mythili), Maya's roommate, volunteers to make an appearance on her behalf.
This is perhaps the first film that I have seen, where an entire audience smacks their lips in anticipation, barely two minutes into it. This is a dream-come-true film for any foodie out there, but even for the others there is no escape from the drool and dribble. Get ready for some real flooding in your mouths, as almost everyone in the film digs into food, and more food.
Having struck up an affinity over the telephone, Kalidasan proceeds to let Maya into the secrets of baking a Joan's Rainbow Cake. Made by a French soldier's wife as the Second World War raged on, and as she anxiously waited for her husband's return home, the sumptuous cake with strawberry, pistachio and orange layers placed one over the other, is topped all over with delicious chocolate sauce. Kalidasan and Maya bake their own versions, and the world around them turns a tad sweeter.
Kalidasan almost undergoes a teleportation, courtesy the Unniappam that proclaims Babu's (Baburaj) culinary skills. Almost everyone at the beauty parlor that Maya's house owner (Kalpana) runs, bites into her juicy banana fries with a vengeance. Manu stares at Meenakshi round eyed, with the froth of a hot cappuccino plastered over his upper lip. Balakrishnan (Vijayaraghavan), an officer at an excavation site, explains the impact of a steaming hot tea, after a terribly drunken night. And even the lecherous technician who's after Maya at work, chews into a drumstick in his Sambar as if there is no tomorrow.
As much as the film is about food that comes in all possible delectable forms, it's about several other things as well. It's about the lives of people who love to bite into something scrumptious and lose themselves in the glory of the moment. It's about people unearthing themselves, and on their route to discovery coming to finally comprehend, what they really want from life.
There is so much to be said, of each of these adorable characters. Maya is a struggler striving to confront her own insecurities, and constantly challenging herself to prove that better days lie ahead. She gets the jitters on a driving test, and eventually does grab the driver's license. She takes one hard look at herself in the mirror, and tries to come to terms with the fact that men aren't in love with her any more. And it doesn't help much, that they are lusting after her instead.
Kalidasan has been busy gorging on anything that he could lay his eyes on, and all on a sudden finds that the ground has turned slippery, as he starts yearning for companionship. He is a Self-doubting Thomas all right, and the salt on his beard isn't reassuring to him either. There isn't a flavor that escapes his savory tongue, and yet the tang end essence of human relations remain almost alien to him. Until he meets Maya.
I especially loved the wholehearted, keen servitude that characterizes Babu. Over the years, he has comfortably imposed wifely duties on himself, and is every bit what his employer wants him to be. Moopan (Kelu Moopan) is a silent spectator from another culture, who merely has a toothless grin as an answer to most questions. And who would forget K T Mirash (Ahmed Siddique), the irksome, on-your-back guy who eats into your ears with undecipherable, nonsensical advice, as much as you are trying to vigorously shake him off. Last but certainly not the least, there is the dysfunctional radio in Kalidasan's retro Premier Padmini, that jumps into life each time the car runs into a ditch. It soon dies out again, but not before playing a song that adds a little bit to the story.
Performances are uniformly splendid, and Lal and Swetha Menon head the lot, with feats that are crisp and quite crunchy. Asif Ali and Mythili whip up some real fresh cream with thick sugar syrup. Baburaj has some real spicy fries in store, that are downright yummy. Ahmed Siddique pours over some steaming soup that's sweet and sour. And the rest of them see to it that the garnishing is perfect.
Shyju Khalid, with his apron right on spot, has captured perfect frames that make Salt 'n Pepper, a visual delicacy. Saajan wastes no time, mincing it all up and slices and chops with precision. There is no one perhaps better than Sameera Sanish who knows what the right blend of colors can do on the dinner table. Bijibal and the rock band Avial have mixed up mint and cinnamon with their musical scores, and the very special 'Kanamullal Ulneerum' pours honey over raisins.
Aashiq Abu and his team (that includes the fantastic writers Syam Pushkaran and Dileesh Nair) adhere to the golden rules of good cooking, and see to it that the griddle is all hot, before they gently spread out a light hearted Dosa story on it. The batter is rich and consistently textured with much mirth and laughter and it settles down on the tava, with a sizzling hum. They grease it a bit further with a dollop of emotional butter that melts all over it in no time. Just as the crust turns firm, they flip it over, and let it turn a golden brown on both sides. And once done, roll it over to a swank platter, and serve it piping hot.
Saturday, July 23, 2011
Collector
The critical point that the makers of 'Collector' have missed out on, is that gone are the days when you could craft a film based on a central character, bestow some bureaucratic power on him, dig into some political issues, create a ruckus and keep the audience entertained.
Collector has Suresh Gopi playing the title role, and he is Avinash Verma in the film, the District Collector of Cochin. Assuming office, Verma has to take heads on several kingpins who rule the underworld of Cochin. Of these, Williams (Rajeev) the real estate mafia don proves to be a deadly opponent to the officer.
There are not many situations in the film, that you haven't seen in several other films that have been moulded on the same lines. As usual, there is an extremely benevolent leftist Chief Minister who goes out of his way to lend a hand to the smart officer in charge. In Collector, it is, for the umpteenth time, Janardhanan again donning the role of the CM.
The supporting characters lose no time in falling into a line and occupy either of the two sides in the battle. Along with the Collector, there is ACP Revathy and social activist Arundhati. The City Police Commissioner, along with a couple of corrupt ministers and officials rally behind Williams.
The strength is almost evenly distributed on both sides. For instance, to counter the feminine power on the Collector's side, we have the Lady Mayor along with Williams. And true to the spirit, the Collector has a doting mother at home, who at one point is forced to throw him out due to his excessive affinity towards his duty.
Its not a mere war of words that Anil C Menon has envisaged. There is a terror element thrown in for that extra effect. And these bad men are real mean in the film. They kill each other with a vengeance, and the battle soon gets real bloody.
Much chaos and confusion later, the dust finally settles down and justice is served. Truth and honesty is rewarded. And all is well with the world. Pretty good, except that the Collector reminds us of a King or a Commissioner. And its not a relieving thought that we might have to sit through the dare devil antics of lesser officers now, since all the higher ones have already been taken.
Suresh Gopi is quite comfortable playing the Collector. He is more like the Commissioner himself, minus the khaki uniform and the English dialogues. He does his job well, as he has already done a million times. Rajeev is quite good as well, as the cut throat villain.
Collector fits into the socio-political thriller genre in Malayalam films to the 'T'. The film tries to speak a lot, but the fact is that not many are in a mood to listen. For, we have seen it all.
Collector has Suresh Gopi playing the title role, and he is Avinash Verma in the film, the District Collector of Cochin. Assuming office, Verma has to take heads on several kingpins who rule the underworld of Cochin. Of these, Williams (Rajeev) the real estate mafia don proves to be a deadly opponent to the officer.
There are not many situations in the film, that you haven't seen in several other films that have been moulded on the same lines. As usual, there is an extremely benevolent leftist Chief Minister who goes out of his way to lend a hand to the smart officer in charge. In Collector, it is, for the umpteenth time, Janardhanan again donning the role of the CM.
The supporting characters lose no time in falling into a line and occupy either of the two sides in the battle. Along with the Collector, there is ACP Revathy and social activist Arundhati. The City Police Commissioner, along with a couple of corrupt ministers and officials rally behind Williams.
The strength is almost evenly distributed on both sides. For instance, to counter the feminine power on the Collector's side, we have the Lady Mayor along with Williams. And true to the spirit, the Collector has a doting mother at home, who at one point is forced to throw him out due to his excessive affinity towards his duty.
Its not a mere war of words that Anil C Menon has envisaged. There is a terror element thrown in for that extra effect. And these bad men are real mean in the film. They kill each other with a vengeance, and the battle soon gets real bloody.
Much chaos and confusion later, the dust finally settles down and justice is served. Truth and honesty is rewarded. And all is well with the world. Pretty good, except that the Collector reminds us of a King or a Commissioner. And its not a relieving thought that we might have to sit through the dare devil antics of lesser officers now, since all the higher ones have already been taken.
Suresh Gopi is quite comfortable playing the Collector. He is more like the Commissioner himself, minus the khaki uniform and the English dialogues. He does his job well, as he has already done a million times. Rajeev is quite good as well, as the cut throat villain.
Collector fits into the socio-political thriller genre in Malayalam films to the 'T'. The film tries to speak a lot, but the fact is that not many are in a mood to listen. For, we have seen it all.
Manushya Mrugam
Baburaj in Manushya Mrugam plays Johny, a lorry driver, with an insatiable sex drive. Married to Lissy (Kiran), he has an eye for a younger girl Sofie (Oviya) who has come to stay with them. He repeatedly tries to goad her to marry him, but she doesn't comply. In a fit of rage, he smothers her, stabs his wife and murders his eleven year old daughter as well.
That's the story in a nutshell. So when does Manushya Mrugam become the investigative thriller that it is expected to be? When Crime Branch Officer David (Prithviraj) smells that something is rotten in this small haven in Central Kerala. Off he goes probing into the case, until several skeletons tumble out of the closet.
Essentially a murder mystery, the film tries to maintain a list of suspects handy. There are deliberate attempts to build up the suspicion quotient all the while, like the continuous attempts to throw a veil of distrust over the local priest (Jagathy). But these efforts do not really bear fruit since by now, the viewers have mastered every trick of the trade.
The film is also a showcase for Baburaj the actor, and it provides him abundant opportunities to boost up his macho image. Rough and quite sturdy, he plays a coarse man, who doesn't pay heed to the lives of those whom he tramples. Within in no time of arriving at the village, he ends the long winding rule of the local ruffian Vasu. And in jail, he takes on single-handedly his big-headed cell mates and mashes them into pulp.
Perhaps because the film is about a man with an uncontrollable lust, it is replete with instances of his desire finding an expression. He spends his time hiding behind the bushes near the river, where the women come to bathe. Johny soon finds a woman who is bowled over by his charms in Mary (Aishwarya), who runs the local arrack shop. This doesn't however satisfy him and neither does it deter him from peeping into bedrooms.
Manushya Mrugam looks and sounds weakest during the last fifteen minutes, when you realize that all you have been waiting for till then, was for a deliberate twist that feels like it has been pushed into the story, since someone had to be made the murderer. The natural blend of the climactic piece with the rest of the narrative is sadly missing.
Baburaj does a neat job of playing Johny, and is every bit the callous man who succumbs to the desires of the flesh. Prithvi merely adds star power to the film. He walks about in definite strides and solves the case with a casual indifference. Of the women, Kiran and Oviya lead the pack and deliver fine performances.
Manushya Mrugam that tells the story of a lecherous man has plenty of skin on show. It might not hold any surprises when it comes to the tale that it tells, and the writing further relegates it to two-dimensional fluff.
That's the story in a nutshell. So when does Manushya Mrugam become the investigative thriller that it is expected to be? When Crime Branch Officer David (Prithviraj) smells that something is rotten in this small haven in Central Kerala. Off he goes probing into the case, until several skeletons tumble out of the closet.
Essentially a murder mystery, the film tries to maintain a list of suspects handy. There are deliberate attempts to build up the suspicion quotient all the while, like the continuous attempts to throw a veil of distrust over the local priest (Jagathy). But these efforts do not really bear fruit since by now, the viewers have mastered every trick of the trade.
The film is also a showcase for Baburaj the actor, and it provides him abundant opportunities to boost up his macho image. Rough and quite sturdy, he plays a coarse man, who doesn't pay heed to the lives of those whom he tramples. Within in no time of arriving at the village, he ends the long winding rule of the local ruffian Vasu. And in jail, he takes on single-handedly his big-headed cell mates and mashes them into pulp.
Perhaps because the film is about a man with an uncontrollable lust, it is replete with instances of his desire finding an expression. He spends his time hiding behind the bushes near the river, where the women come to bathe. Johny soon finds a woman who is bowled over by his charms in Mary (Aishwarya), who runs the local arrack shop. This doesn't however satisfy him and neither does it deter him from peeping into bedrooms.
Manushya Mrugam looks and sounds weakest during the last fifteen minutes, when you realize that all you have been waiting for till then, was for a deliberate twist that feels like it has been pushed into the story, since someone had to be made the murderer. The natural blend of the climactic piece with the rest of the narrative is sadly missing.
Baburaj does a neat job of playing Johny, and is every bit the callous man who succumbs to the desires of the flesh. Prithvi merely adds star power to the film. He walks about in definite strides and solves the case with a casual indifference. Of the women, Kiran and Oviya lead the pack and deliver fine performances.
Manushya Mrugam that tells the story of a lecherous man has plenty of skin on show. It might not hold any surprises when it comes to the tale that it tells, and the writing further relegates it to two-dimensional fluff.
Chappa Kurishu
Sameer Thahir's directorial debut 'Chappa Kurish' puts the scanner on the strangeness of reality in a busy city in Kerala, teeming with life. This wrenching and powerful testament on the politics of power that govern human lives, deals with issues that are real, contemporary and quite complex.
Arjun (Fahadh Fazil) is a dashing young businessman on his way to become a corporate magnate. Living in a swank apartment in Cochin, he likes to see the city move beneath his feet. He is engaged to be married to Ann (Roma), and has an affair on the sly with his secretary Sonia (Remya Nambeeshan). One of their clandestine encounters is recorded on Arjun's mobile phone, and when Sonia threatens to wreck his marriage, he loses the phone in a scuffle. Where it does land, is before Ansari (Vineeth Sreenivasan), a cleaner boy at a local super market, who quickly grabs it and disappears into the crowd.
Arjun is the kind of man who believes that money has earned him everything possible in the world. His gait is self-assured, perhaps a bit too much at that, and he has selectively ousted lesser individuals from his purview. He is used to having people hop around his fingertips, and is a strategic planner who devises his booming career with as much craftiness and care as his life.
Ansari on the other hand is fast getting used to being jostled at, and has learned that it's a man-eat-man world out there. He engages in a silent battle every day, with him on one side and the affluent world at the other, where he merely puts up a feeble guard and tries to meekly get away. He never gets to sit on a vacant sit on the bus, is shoved around by the bulky supervisor at the workplace, and gets insulted by all and sundry.
Money is thus the last thing on Anasri's mind, when he hears Arjun at the other end imploring him to hand him back the phone. For the first time, perhaps in his long and miserable life, he listens to someone talk to him with respect. He is neither aware of the possibilities of a blackmail nor interested in striking up a profitable deal. He is merely fascinated by the voice of a human being, who for a change is eager to take his orders.
It's a long winding chase that Arjun embarks on, since Ansari soon gets intoxicated by the dope of contentment that he derives from being in charge. The climatic showdown between the two is all the more vicious and bloody, as they literally tear themselves apart, before finally settling down and resignedly going their separate ways.
Thahir's film has a deliberate thoughtfulness that is evident throughout. The pace is unhurried hence, and Arjun's breakdown over the given time frame is complete. There are no jerks and jumps in the narrative, and the buildup is terrific. And yet it remains that perhaps 'Chappa Kurish' could have made a crisper film with a shorter running time.
There seem to be ideational similarities between Chappa Kurish and the Korean film Handphone (2009) directed by Kim Han-Min. But Unni has pumped in some fresh blood into his characters, and has planted them meticulously in the local milieu. Despite all the dark shades of life that the film basks itself in, I found the optimism in it absolutely endearing. People in it do not live in their mistakes for their entire lives; they courageously decide to move on.
The riveting performances of the three lead actors in the film see to it that the blows and bangs that it delivers are right on place. We have seen actors reinventing themselves, but Fahadh literally stuns us with a compelling feat that is easily one of the best leading performances that I have seen in recent times.
Vineeth is a perfect foil, and if you feel he lets himself be outshined by Fahadh, you should realize what an amazing actor he is. And of course, there is the gorgeous Remya for whom I hope there is no looking back hereafter. Three brilliant actors of the new generation, who are here to stay. This review wouldn't be complete without mentioning two other names as well; the awesome background score composed by Rex Vijayan and Jomon T John, the man who has worked wonders with his camera.
'Chappa Kurish' is a simple film that is deeply moving, persistent, and eye-opening that tells a story that is undeniably grim. It's a brave and genuinely heartfelt directorial effort from a young director, who has clearly won the toss this time around.
Arjun (Fahadh Fazil) is a dashing young businessman on his way to become a corporate magnate. Living in a swank apartment in Cochin, he likes to see the city move beneath his feet. He is engaged to be married to Ann (Roma), and has an affair on the sly with his secretary Sonia (Remya Nambeeshan). One of their clandestine encounters is recorded on Arjun's mobile phone, and when Sonia threatens to wreck his marriage, he loses the phone in a scuffle. Where it does land, is before Ansari (Vineeth Sreenivasan), a cleaner boy at a local super market, who quickly grabs it and disappears into the crowd.
Arjun is the kind of man who believes that money has earned him everything possible in the world. His gait is self-assured, perhaps a bit too much at that, and he has selectively ousted lesser individuals from his purview. He is used to having people hop around his fingertips, and is a strategic planner who devises his booming career with as much craftiness and care as his life.
Ansari on the other hand is fast getting used to being jostled at, and has learned that it's a man-eat-man world out there. He engages in a silent battle every day, with him on one side and the affluent world at the other, where he merely puts up a feeble guard and tries to meekly get away. He never gets to sit on a vacant sit on the bus, is shoved around by the bulky supervisor at the workplace, and gets insulted by all and sundry.
Money is thus the last thing on Anasri's mind, when he hears Arjun at the other end imploring him to hand him back the phone. For the first time, perhaps in his long and miserable life, he listens to someone talk to him with respect. He is neither aware of the possibilities of a blackmail nor interested in striking up a profitable deal. He is merely fascinated by the voice of a human being, who for a change is eager to take his orders.
It's a long winding chase that Arjun embarks on, since Ansari soon gets intoxicated by the dope of contentment that he derives from being in charge. The climatic showdown between the two is all the more vicious and bloody, as they literally tear themselves apart, before finally settling down and resignedly going their separate ways.
Thahir's film has a deliberate thoughtfulness that is evident throughout. The pace is unhurried hence, and Arjun's breakdown over the given time frame is complete. There are no jerks and jumps in the narrative, and the buildup is terrific. And yet it remains that perhaps 'Chappa Kurish' could have made a crisper film with a shorter running time.
There seem to be ideational similarities between Chappa Kurish and the Korean film Handphone (2009) directed by Kim Han-Min. But Unni has pumped in some fresh blood into his characters, and has planted them meticulously in the local milieu. Despite all the dark shades of life that the film basks itself in, I found the optimism in it absolutely endearing. People in it do not live in their mistakes for their entire lives; they courageously decide to move on.
The riveting performances of the three lead actors in the film see to it that the blows and bangs that it delivers are right on place. We have seen actors reinventing themselves, but Fahadh literally stuns us with a compelling feat that is easily one of the best leading performances that I have seen in recent times.
Vineeth is a perfect foil, and if you feel he lets himself be outshined by Fahadh, you should realize what an amazing actor he is. And of course, there is the gorgeous Remya for whom I hope there is no looking back hereafter. Three brilliant actors of the new generation, who are here to stay. This review wouldn't be complete without mentioning two other names as well; the awesome background score composed by Rex Vijayan and Jomon T John, the man who has worked wonders with his camera.
'Chappa Kurish' is a simple film that is deeply moving, persistent, and eye-opening that tells a story that is undeniably grim. It's a brave and genuinely heartfelt directorial effort from a young director, who has clearly won the toss this time around.
Manikyakallu
Every time a movie comes along that tells the story of a teacher who is determined to bring about a distinct transformation in his student's lives, you think of Robin Williams and the Dead Poet's Society. It need not be because the two films are noticeably alike; rather the Peter Weir film has managed to set definite benchmarks in the genre, that overriding it is bound to be an uphill task.
It should be admitted that the Welton Academy is a far cry from the Govt. High School at Vannanmala, that is literally falling to bits and pieces. The school, with Headmaster Karunakara Kurup (Nedumudi Venu) at its helm, has been in the news for all the wrong reasons; a cent percent failure in the SSLC exams, being just one of them.
Things seem headed for a change, with the arrival of Vinay Chandran (Prithviraj), a young and sprightly teacher who has sought his first appointment at this decrepit school, for reasons of his own. He takes charge of the tenth grade; a small group of twelve students consisting of seven boys and five girls. The girls waste no time debating as to who will ultimately win the charming lecturer over, and get down to business. And the boys, focus their binoculars even better and keep a watch over the girls.
The rich character study that Mohanan offers is what makes this film appealing; at least for the major part. The headmaster who has conveniently started using the class rooms to store fertilizers, Pavanan (Kottayam Nazir) who is teacher by the staff attendance register and real estate dealer otherwise, SK(Anil Murali) the trade union leader who teaches less and preaches more, Chandni (Samvrutha) the egg vendor who is also the physical education tutor and Aziz (Anoop Chandran) the much married teacher who sleeps through out the day irrespective of whether he needs to be in class or not. Surprisingly, its Vinay Chandran who suffers, because his character is eventually reduced to a meek revision of the inspirer teacher role that we have been familiar with even before.
People are really good and susceptible to change in Mohanan's film. He doesn't deny the average human the goodness that is more intrinsic than other wise, and the local Sub-Inspector (Suresh Krishna) vouchsafes this fact. And everyone, be it the wayward kids or the rebellious teachers or even the vile parent (Jagathy) decide to turn a new leaf, when the truth dawns and sense prevails.
After a charming first half, that briskly passes by, the film grinds to a halt. It gains no further momentum, and the story advances little ahead, which turns out to be a snag. Add to it, flashbacks from Vinay Chandran's past and an ill fitting romance, and in an hour 'Manikyakallu' turns out be a far cry from a splendid film that it could have been. Many instances in 'Manikyakallu' would remind you of Mohanan's previous film 'Katha Parayumbol'. The dramatic sequences that unfurl before a microphone should make you think of the striking denouement of the directors' first film. And there is even Salim Kumar leading a song, just as he did in the former flick.
Prithvi has been continually delivering solid performances, and this film could be yet another proud addition to the list. Samvrutha is getting better with each film, and one other actor who deserves a standing applause is Anil Murali. Here is an artiste who could put others on the scene into the shade within moments, and as the regretful teacher who doesn't mind admitting that he was wrong, Anil is terrific.
'Manikyakallu' is an uplifter film, no doubt, and has its share of heartrending moments. But it breaks no fresh ground in the theme that it undertakes, and the middlebrow manner that it adopts halfway through makes it an uneven piece of work.
It should be admitted that the Welton Academy is a far cry from the Govt. High School at Vannanmala, that is literally falling to bits and pieces. The school, with Headmaster Karunakara Kurup (Nedumudi Venu) at its helm, has been in the news for all the wrong reasons; a cent percent failure in the SSLC exams, being just one of them.
Things seem headed for a change, with the arrival of Vinay Chandran (Prithviraj), a young and sprightly teacher who has sought his first appointment at this decrepit school, for reasons of his own. He takes charge of the tenth grade; a small group of twelve students consisting of seven boys and five girls. The girls waste no time debating as to who will ultimately win the charming lecturer over, and get down to business. And the boys, focus their binoculars even better and keep a watch over the girls.
The rich character study that Mohanan offers is what makes this film appealing; at least for the major part. The headmaster who has conveniently started using the class rooms to store fertilizers, Pavanan (Kottayam Nazir) who is teacher by the staff attendance register and real estate dealer otherwise, SK(Anil Murali) the trade union leader who teaches less and preaches more, Chandni (Samvrutha) the egg vendor who is also the physical education tutor and Aziz (Anoop Chandran) the much married teacher who sleeps through out the day irrespective of whether he needs to be in class or not. Surprisingly, its Vinay Chandran who suffers, because his character is eventually reduced to a meek revision of the inspirer teacher role that we have been familiar with even before.
People are really good and susceptible to change in Mohanan's film. He doesn't deny the average human the goodness that is more intrinsic than other wise, and the local Sub-Inspector (Suresh Krishna) vouchsafes this fact. And everyone, be it the wayward kids or the rebellious teachers or even the vile parent (Jagathy) decide to turn a new leaf, when the truth dawns and sense prevails.
After a charming first half, that briskly passes by, the film grinds to a halt. It gains no further momentum, and the story advances little ahead, which turns out to be a snag. Add to it, flashbacks from Vinay Chandran's past and an ill fitting romance, and in an hour 'Manikyakallu' turns out be a far cry from a splendid film that it could have been. Many instances in 'Manikyakallu' would remind you of Mohanan's previous film 'Katha Parayumbol'. The dramatic sequences that unfurl before a microphone should make you think of the striking denouement of the directors' first film. And there is even Salim Kumar leading a song, just as he did in the former flick.
Prithvi has been continually delivering solid performances, and this film could be yet another proud addition to the list. Samvrutha is getting better with each film, and one other actor who deserves a standing applause is Anil Murali. Here is an artiste who could put others on the scene into the shade within moments, and as the regretful teacher who doesn't mind admitting that he was wrong, Anil is terrific.
'Manikyakallu' is an uplifter film, no doubt, and has its share of heartrending moments. But it breaks no fresh ground in the theme that it undertakes, and the middlebrow manner that it adopts halfway through makes it an uneven piece of work.
Maharaja Talkies
Maharaja Talkies, I had assumed was a film that would talk of the trials and tribulations of four women who run a dilapidated film theatre, somewhere in a remote village in Central Kerala. I was to discover that the four sisters are there, and the theatre is in place as well, but that the trials and tribulations bit has been transferred over to the ill-fated viewer.
So the film is about Vimala (Urvasi) and her three sisters Ganga, Yamuna and Unnimaya. Apparently, they run a film theatre that has almost been bestowed on them by their mother, before she passed away. Vimala has been more than a father and mother to the younger kids, since their dad (Babu Namboothiri) had deserted them when they ere quite small.
Unfortunately, the film has little to do with films and the movie business in general, except for the posters that are stuck outside the cinema hall. Because, the focus of the film is not on the movie business, but on the animosity that exists between individuals.
Its Vijayaraghavan who plays the local moneybag, who is hell bent on bringing Maharaja Talkies down. He does it by hiring a cabaret dancer, and the people in no time desert the cinema hall and flock around the voluptuous performer. He also seeks the services of a Panchayat member who has been spurned by the 'theatre sisters' and who was asked to buy a few tickets for his family, for a change.
Thus it goes on, and the romantic interests of the four sisters soon arrive in all shapes and forms ranging from Mukesh to Ramesh Pisharady. There is no love in the air though, and whatever limited interactions take place between the odd looking couples turn out to be superficial.
The script of Maharaja Talkies staggers big time, and there is nothing much that the actors can do about it. Urvasi looks ill-at-ease, which is not common for an actress lik her. Mukesh appears in a role that looks more like cameo, and the rest of the cast including Vijayaraghavan are left with nothing much to crow about.
On the contrary, the viewer can forever complain about what he has to go through, for an odd couple of hours that he spends watching the film. The characters look like they have been carved out plastic, and rarely succeed in establishing a connection with the audience. The story appears deliberately joined together, and the flashback scenes are painfully amateur. And there is an attempted rape scene in the film that appears awkward and almost manipulative.
The technical aspects of the film are in sync with the general mood, and there are no wonders in this regard. Maharaja Talkies is a downer in several respects, and given the common tale that it tells, and the mundane way in which it's told, it's clear as day that its chances at the box office are pretty slim.
So the film is about Vimala (Urvasi) and her three sisters Ganga, Yamuna and Unnimaya. Apparently, they run a film theatre that has almost been bestowed on them by their mother, before she passed away. Vimala has been more than a father and mother to the younger kids, since their dad (Babu Namboothiri) had deserted them when they ere quite small.
Unfortunately, the film has little to do with films and the movie business in general, except for the posters that are stuck outside the cinema hall. Because, the focus of the film is not on the movie business, but on the animosity that exists between individuals.
Its Vijayaraghavan who plays the local moneybag, who is hell bent on bringing Maharaja Talkies down. He does it by hiring a cabaret dancer, and the people in no time desert the cinema hall and flock around the voluptuous performer. He also seeks the services of a Panchayat member who has been spurned by the 'theatre sisters' and who was asked to buy a few tickets for his family, for a change.
Thus it goes on, and the romantic interests of the four sisters soon arrive in all shapes and forms ranging from Mukesh to Ramesh Pisharady. There is no love in the air though, and whatever limited interactions take place between the odd looking couples turn out to be superficial.
The script of Maharaja Talkies staggers big time, and there is nothing much that the actors can do about it. Urvasi looks ill-at-ease, which is not common for an actress lik her. Mukesh appears in a role that looks more like cameo, and the rest of the cast including Vijayaraghavan are left with nothing much to crow about.
On the contrary, the viewer can forever complain about what he has to go through, for an odd couple of hours that he spends watching the film. The characters look like they have been carved out plastic, and rarely succeed in establishing a connection with the audience. The story appears deliberately joined together, and the flashback scenes are painfully amateur. And there is an attempted rape scene in the film that appears awkward and almost manipulative.
The technical aspects of the film are in sync with the general mood, and there are no wonders in this regard. Maharaja Talkies is a downer in several respects, and given the common tale that it tells, and the mundane way in which it's told, it's clear as day that its chances at the box office are pretty slim.
Raghuvinte Swantham Rasiya
Sigh! Vinayan's 'Raghuvinte Swantham Rasiya' that claims to usher in winds of change in Malayalam cinema, does nothing of the sort. In fact, it has all the customary ingredients that make up a Vinayan film, and unfolds in a manner that would make you yearn to fall out of love.
Rasiya (Meghna Raj) is a wealthy girl who has lost her heart to Raghu (Murali Krishnan), despite a thousand films as these that reprimand young girls like her from doing the unthinkable. I wouldn't blame her really, since the boy remits her electricity bills and even does her college assignments.
Rasiya's dad (Sphadikam George) doesn't share his daughter's sentiments however, and asks Raghu to prove a point in life, before asking for her hand. Off he goes hunting fro a job, and in no time finds himself where every job seeker at his wit's end finds himself these days - at a terrorist training camp in Pakistan.
I would admit I was unprepared for this bit, and it took me quite a while to come to terms with the fact that Raghu has transformed into a hardcore terrorist. I know it wouldn't be right on our part to expect a terrorist to have a real intimidating name, but Raghu still sounded a but awkward.
Rasiya meanwhile runs into terrorist Raghu at Bangalore, and comes face to face with the entire gang. There is also Riyaz (Goutham) who has just returned after assassinating the Karnataka Home Minister. The man however has a heart of gold, and would give up his life to see to it that Rasiya and his terrorist colleague Raghu are united.
The terrorist leader shouts Jihad, and Raziya springs up against him. No prizes for guessing that she asks him if he has read the Holy Quran. He refuses to see sense though, and exhorts his team to action. Raghu gets arrested for a crime that he doesn't commit, and Rasiya is (Sigh again) raped.
Vinayan doesn't spare an opportunity to poke fun at you-know-who. Seeing his grand father (Thilakan) in an annoyed mood, Raghu mocks him by saying not to go overboard with his acting, and warns him that if he does, he might end up being a superstar!
There is just one reason for watching 'Raghuvinte Swantham Rasiya', and that is its lead pair. This is Meghna's worst film as yet, but she still manages to look beautiful, if not anything else. New find Murali Krishnan is surprisingly at ease in his debut role, and does a neat job of playing Raghu. Of course Thilakan is there, and Sphadikan George as well.
With 'Raghuvinte Swantha Rasiya', Vinayan moves a notch further down from 'Yakshiyum Njanum'. Hovering around on tediously familiar territory, this is a tragically tiresome film from start to finish.
Rasiya (Meghna Raj) is a wealthy girl who has lost her heart to Raghu (Murali Krishnan), despite a thousand films as these that reprimand young girls like her from doing the unthinkable. I wouldn't blame her really, since the boy remits her electricity bills and even does her college assignments.
Rasiya's dad (Sphadikam George) doesn't share his daughter's sentiments however, and asks Raghu to prove a point in life, before asking for her hand. Off he goes hunting fro a job, and in no time finds himself where every job seeker at his wit's end finds himself these days - at a terrorist training camp in Pakistan.
I would admit I was unprepared for this bit, and it took me quite a while to come to terms with the fact that Raghu has transformed into a hardcore terrorist. I know it wouldn't be right on our part to expect a terrorist to have a real intimidating name, but Raghu still sounded a but awkward.
Rasiya meanwhile runs into terrorist Raghu at Bangalore, and comes face to face with the entire gang. There is also Riyaz (Goutham) who has just returned after assassinating the Karnataka Home Minister. The man however has a heart of gold, and would give up his life to see to it that Rasiya and his terrorist colleague Raghu are united.
The terrorist leader shouts Jihad, and Raziya springs up against him. No prizes for guessing that she asks him if he has read the Holy Quran. He refuses to see sense though, and exhorts his team to action. Raghu gets arrested for a crime that he doesn't commit, and Rasiya is (Sigh again) raped.
Vinayan doesn't spare an opportunity to poke fun at you-know-who. Seeing his grand father (Thilakan) in an annoyed mood, Raghu mocks him by saying not to go overboard with his acting, and warns him that if he does, he might end up being a superstar!
There is just one reason for watching 'Raghuvinte Swantham Rasiya', and that is its lead pair. This is Meghna's worst film as yet, but she still manages to look beautiful, if not anything else. New find Murali Krishnan is surprisingly at ease in his debut role, and does a neat job of playing Raghu. Of course Thilakan is there, and Sphadikan George as well.
With 'Raghuvinte Swantha Rasiya', Vinayan moves a notch further down from 'Yakshiyum Njanum'. Hovering around on tediously familiar territory, this is a tragically tiresome film from start to finish.
Janapriyan
Some films arrive without much of a flutter. You indifferently walk into the theatre to see those, wondering what's in store for you, and several slack releases in the recent past have taken their toll on you. And then something happens, that takes you by surprise. And once again, you remind yourself to expect the unexpected, the next Friday. Boban Samuel's 'Janapriyan' is one such film.
If you think of the story that Boban Samuel tells on screen, I would admit there is nothing much to crow about. But the way in which it is told, at least during the first hour of the film, is one that shows flashes of an admirable filmmaking aptitude. Equally appreciable is Boban's choice of his leading actor. Folks, Jayasurya rocks in Janapriyan.
The young actor plays Priyadarshan, a village simpleton, who is overjoyed on being temporarily appointed at the Taluk Office on a leave vacancy. The officer who has gone on leave is Vaishakhan (Manoj K Jayan), who is busy pursuing his dreams of turning a film director some day. Priyan merges into the city landscape in no time, and its busy inhabitants find his ways amusing. And for the first time in his life, he falls in love.
Somehow I was reminded of Jayaraj's 'Loud Speaker', while watching this film. Of course, there aren't any similarities between the two films, except that both the protagonists are non-stop chatters. Both of them also radiate an innate goodness that makes you reach out to them. As Priyan himself reveals at a particular point in the film, it's when the viewer feels that he is part of the world that he sees on screen, that he truly starts enjoying the film.
Perhaps more than everything else, this film needs to be valued for the collective efforts of a few individuals who have genuinely tried hard to visualize a simple story in an interesting manner. These efforts have indeed paid off, and that's why 'Janapriyan' is a far cry from any number of those films, that have everything going for it except for the resolute will to make a film that's worth a watch.
How I wish, after that hilarious half-time break, the rhythm of the film was maintained till the end. Unfortunately, it slackens after the initial hour, and steadily slows down to a very mediocre climax. This would have been acceptable, had it been for another film, but for'Janapriyan', that starts off in a splendid fashion, this deceleration is disappointing.
Jayasurya is incredibly charming as 'Janapriyan', and brings in a natural adorability to the character that he plays. His dialogue delivery is near perfect, and his pleasant looks complement the character even further. This is one of the best films I have seen him in, till date, the actor's determination to pitch in that extra bit of effort into everything that he does, deserves a special mention here. Bhama and Manoj K Jayan, along with Jagathy Sreekumar lend ample support.
'Janapriyan' is worth your time, for all the small charms and smiles that it has in store. I loved this film for what it is, but I wish I could have loved it even more.
If you think of the story that Boban Samuel tells on screen, I would admit there is nothing much to crow about. But the way in which it is told, at least during the first hour of the film, is one that shows flashes of an admirable filmmaking aptitude. Equally appreciable is Boban's choice of his leading actor. Folks, Jayasurya rocks in Janapriyan.
The young actor plays Priyadarshan, a village simpleton, who is overjoyed on being temporarily appointed at the Taluk Office on a leave vacancy. The officer who has gone on leave is Vaishakhan (Manoj K Jayan), who is busy pursuing his dreams of turning a film director some day. Priyan merges into the city landscape in no time, and its busy inhabitants find his ways amusing. And for the first time in his life, he falls in love.
Somehow I was reminded of Jayaraj's 'Loud Speaker', while watching this film. Of course, there aren't any similarities between the two films, except that both the protagonists are non-stop chatters. Both of them also radiate an innate goodness that makes you reach out to them. As Priyan himself reveals at a particular point in the film, it's when the viewer feels that he is part of the world that he sees on screen, that he truly starts enjoying the film.
Perhaps more than everything else, this film needs to be valued for the collective efforts of a few individuals who have genuinely tried hard to visualize a simple story in an interesting manner. These efforts have indeed paid off, and that's why 'Janapriyan' is a far cry from any number of those films, that have everything going for it except for the resolute will to make a film that's worth a watch.
How I wish, after that hilarious half-time break, the rhythm of the film was maintained till the end. Unfortunately, it slackens after the initial hour, and steadily slows down to a very mediocre climax. This would have been acceptable, had it been for another film, but for'Janapriyan', that starts off in a splendid fashion, this deceleration is disappointing.
Jayasurya is incredibly charming as 'Janapriyan', and brings in a natural adorability to the character that he plays. His dialogue delivery is near perfect, and his pleasant looks complement the character even further. This is one of the best films I have seen him in, till date, the actor's determination to pitch in that extra bit of effort into everything that he does, deserves a special mention here. Bhama and Manoj K Jayan, along with Jagathy Sreekumar lend ample support.
'Janapriyan' is worth your time, for all the small charms and smiles that it has in store. I loved this film for what it is, but I wish I could have loved it even more.
IT raids offices, homes of Mammootty, Mohanlal
CHENNAI: Income tax sleuths have raided the houses, offices and hotels of Malayalam film stars Mammootty and Mohanlal. Both the Kerala-based actors have been asked to appear before tax officials in person here.
The searches started at 6.30am on Friday morning with 80 officials simultaneously verifying records at their homes in Kochi and numerous offices in Chennai, and Thiruvananthapuram.
IT sleuths cited a huge gap in the IT returns and the income the superstars make in a year. Both have the same chartered accountant who has his head office in Thiruvananthapuram. The initial statements from both the actors have been taken.
The taxmen have reportedly seized several documents. Official sources report that the team has also found an elephant tusk from Mohanlal's Kochi residence.
Residence of Mohanlal's close aid Antony Perumbavoor is also being raided, said the official.
Mammootty is expected to appear before IT officials in the evening as he was in Chennai when the raids began, while Mohanlal may not arrive Friday as he is shooting in the coastal town of Rameswaram in Tamil Nadu.
IT officials reached Rameswaram and took a statement from Mohanlal.
The extensive raids, it now appears, were kept secret by the IT department and also a well planned one as officials also closed in on the business associates of the two superstars.
The officials reached the home of Mohanlal in the Kerala capital where his aged mother resides.
For Mammootty, the raid came a day after his son's engagement in Chennai. Sources close to him say he has left for Kochi.
Mohanlal has interests in film production, distribution, IT education and also the hospitality industry. Besides, he is an active player in the real estate sector along with his close friends.
Mammootty's interests also include a film production house and he is the patron of a new boutique hospital in Bangalore.
Those questioned include Mohanlal and Mammootty's main business partners, producer Antony Perumbavoor and Anto joseph respectively.
One bedroom of Mohanlal at his Kochi residence is yet to be opened because a bio-metric gadget makes entry possible only with the fingerprints of close family members.
Last week Kozhikode businessman K.A. Rauf, without naming anyone, said a Malayalam superstar and a business house in the state were engaged in a huge real estate deal in Maharashtra.
The IT officials locked the homes from inside and no one was allowed to come in or go out as they prepared their report based on the superstars' IT returns.
The raids come at a time when the two superstars, after nearly three decades in the industry, appear to be losing their iron grip, with most recent films bombing at the box office.
VR Jayaraj | Kochi
Income Tax officials on Friday conducted raids at the houses, offices and business establishments of Malayalam cinema’s megastars Mohanlal and Mammootty, both Padma Shri awardees, after it was found that they had amassed wealth disproportionate to their means. The raids, which started at about 5.00 am, were continuing even late in the evening
The houses, offices and business establishments of the two stars and their close associates at Kochi, Thiruvananthapuram, Bangalore and Chennai came under the raid simultaneously. The inspection at one of the houses of Mohanlal, a civilian Lieutenant Colonel in the Territorial Army, yielded a huge collection of archeological items and a pair of elephant tusks.
I-T officials said that there were huge differences in the declared incomes and the actual earnings of the two film stars, who had wide-ranging business interests in Kerala and other states. According to ET Lukose, Director General, I-T (Investigations), it was clear prima facie that they had amassed wealth disproportionate to their means.
About 80 Income Tax officials in seven teams were conducting the raids. The sleuths also examined the records and documents of the film production and distribution companies with connections to the stars. The officials briefly questioned Mammootty in Chennai and Mohanlal in Rameswaram. They said they would question the duo in detail later.
The houses and offices of Antony Perumbavoor, Mohanlal’s driver and film producer, and Anto Jose, Mammootty’s friend and business associate, also came under the raid. They were also questioned by the officials. However, the department refused to reveal their findings but said they would need some time to compile the information collected by the different teams.
Sources in the department said that they had been verifying the income records of both the stars for the past six months and also that they had “actually” been under their scanner since April last. But they did not say whether these examinations and he raids were on the basis of any complaints.
I-T officials said that the raids could continue for three days. Currencies worth Rs 15 lakh were seized from Mammootty’s residence, they said. Documents of undeclared financial deals, including those on real estate, were said to have been found from the homes and offices of both the stars.
Apart from his house in Thevara, Kochi, Mohanlal’s family home at Mudvanmugal and his Vismaya Max Studio in Thiruvananthapuram also came under the raid. The officials raided the houses and offices of Mammootty, also chairman of the CPI(M)-controlled Malayalam Communications Ltd running three TV channels, at Kochi, Chennai and Bangalore.
I-T sleuths and Forest Department officials were examining whether Mohanlal had been keeping the elephant tusks at his house legally. However, Kerala Forest Minister KB Ganesh Kumar, himself a movie star known to be close to Mohanlal, said he had not ordered any probe into it. He said he had not come across any report on the finding of the ivory, he said.
Ganesh Kumar said Mohanlal and Mammootty had their rights as citizens and that it was yet to be known whether the former had kept the tusks with permission of the authorities. As per the Wildlife Conservation Act and Forest Act, individuals cannot keep articles like ivory but body parts of animals can be kept at homes with the special permission of the Forest Department.
Critic and social activist Sukumar Azheecode, who is fighting a defamation case against Mohanlal said Defence Minister AK Antony should request the President to withdraw the title of Lt Colonel awarded to the star in the context of the raids. “Ii is discomforting that those who should be the models for others were indulging in acts like tax evasion,” he said.
Rs 20 Lac seized from Malayalam superstar Mammootty's house
Kochi, Jul 23: Rs 20 Lakh was seized from superstar Mammootty's residence and the actor was grilled by the Income tax officials for nearly seven hours till early this morning.The actor who was in Chennai returned to kochi last night and was grilled by I-T officials at his residence at Panampilly Nagar till 3am.
The actor "cooperated fully with the officials", said the sources.
Huge fan following had gathered at the airport when the actor arrived from Chennai with his wife.
"We have taken some documents pertaining to landed properties. It is too early to comment now. A final picture would emerge by Wednesday," said R Mohan, additional director general, Income Tax.
I-T officials had raided the houses of superstar Mammootty and Mohanlal on Jul 22 after there were reports that the actors were evading tax.
Mohanlal, who is currently shooting in Rameshwaram will be questioned by I-T officials on Jul 25 and in Kochi on Jul 26, said the additional director general.
The raids won't be conducted on Jul 23 (today), said sources.
The Train
i feel downcast after watching 'The Train', since a theme that had such tremendous potential has ended up the way I saw it on screen.
Jayaraj's new film in all likelihood could have turned out into a noteworthy piece, but the tattered script and its even more uninspiring implementation have ruined all its chances of winning the viewer hearts.
The jigsaw puzzle like structure that the film adopts talks of a day, way back in July 2006; the day, when a quiet but busy evening in Mumbai, was rocked by six bomb blasts on trains along the Western line of the suburban railway network.
'The Train' places on the game board a small crowd of unrelated characters, each one of whom is busy getting through the hectic day. There is Kedar Nath (Mammootty) an officer at the Anti Terrorist squad who is being repeatedly reprimanded by his senior officer to take a break from duty, and for once to enjoy a peaceful evening with his daughter whose birthday falls on the 11th of July.
The day is special for Karthik (Jayasurya), an aspiring singer who would finally leave for Chennai in the evening to meet up with his idol A R Rehman. Suhana (Sabitha Jayaraj) has a family waiting for her back home, hoping that she would bring the money for her grandpa to go on Hajj the next day. And there is a septuagenarian beset with Alzheimer's disease (Balaji), who has fled from the oldage home and is trying to find his way back to his son's place through the mystifying city.
And all of them would board the local trains, without ever knowing that the clock would stop ticking for them at six in the evening.
There could be any number of reasons for brushing this film off, and the slow paced manner in which the story unfolds, does play a major deterrent. We also know, that those couple of songs, even with the manner in which they have been integrated into the tale, simply should not be there. There is the script too that is a downer, and it has very few genuinely heart rending moments. The film is relatively short and has a running time of less than two hours, and a further twenty minutes could easily be trimmed out, that could have made it much crisper.
Let me also tell you about something that I really loved about this movie. There is something intrinsically exciting about the way in which all of us together make up a colossal pattern of life, where often we never even realize the existence of one another. We move about, brushing past one another without a second thought, never for a moment thinking of the bigger picture that we are instinctively a part of.
The songs by Sreenivas are truly melodious, but I wish they were used in some other film. A special word of appreciation is due to the men behind the splendid cinematography (Sinu Murukkumpuzha & Thanu Paalakh) as well.
'The Train' is a film that suffers seriously from careless crafting. That it gets derailed on account of a shabby execution of a significant premise is a shame, really.
Jayaraj's new film in all likelihood could have turned out into a noteworthy piece, but the tattered script and its even more uninspiring implementation have ruined all its chances of winning the viewer hearts.
The jigsaw puzzle like structure that the film adopts talks of a day, way back in July 2006; the day, when a quiet but busy evening in Mumbai, was rocked by six bomb blasts on trains along the Western line of the suburban railway network.
'The Train' places on the game board a small crowd of unrelated characters, each one of whom is busy getting through the hectic day. There is Kedar Nath (Mammootty) an officer at the Anti Terrorist squad who is being repeatedly reprimanded by his senior officer to take a break from duty, and for once to enjoy a peaceful evening with his daughter whose birthday falls on the 11th of July.
The day is special for Karthik (Jayasurya), an aspiring singer who would finally leave for Chennai in the evening to meet up with his idol A R Rehman. Suhana (Sabitha Jayaraj) has a family waiting for her back home, hoping that she would bring the money for her grandpa to go on Hajj the next day. And there is a septuagenarian beset with Alzheimer's disease (Balaji), who has fled from the oldage home and is trying to find his way back to his son's place through the mystifying city.
And all of them would board the local trains, without ever knowing that the clock would stop ticking for them at six in the evening.
There could be any number of reasons for brushing this film off, and the slow paced manner in which the story unfolds, does play a major deterrent. We also know, that those couple of songs, even with the manner in which they have been integrated into the tale, simply should not be there. There is the script too that is a downer, and it has very few genuinely heart rending moments. The film is relatively short and has a running time of less than two hours, and a further twenty minutes could easily be trimmed out, that could have made it much crisper.
Let me also tell you about something that I really loved about this movie. There is something intrinsically exciting about the way in which all of us together make up a colossal pattern of life, where often we never even realize the existence of one another. We move about, brushing past one another without a second thought, never for a moment thinking of the bigger picture that we are instinctively a part of.
The songs by Sreenivas are truly melodious, but I wish they were used in some other film. A special word of appreciation is due to the men behind the splendid cinematography (Sinu Murukkumpuzha & Thanu Paalakh) as well.
'The Train' is a film that suffers seriously from careless crafting. That it gets derailed on account of a shabby execution of a significant premise is a shame, really.
Aazhakadal
Films set against the backdrop of the sea and which tell the story of the fisher folk hat live on its shores have been many in Malayalam. However, there are only a few among these like Ramu Karyat's 'Chemmeen' or Bharathan's 'Amaram' that remain etched in our hearts.
Debutant director Shaan's film 'Azhakkadal' has the sea as the setting and it tells the tale of fishermen as well. However, as the story progresses, the milieu gradually recedes, and eventually moves out of focus. In 'Azhakkadal' the sea is a mere embellishment hence, and never for once, a character.
Kunjumon (Kalabhavan Mani) returns to the beach after sixteen long years in a delinquent home, and is still loathed by his mother and sister for having murdered his father. He has a different story to tell, but finds few ears around to listen to him. His childhood sweetheart Kochurani (Sruthilekshmi) is one of the few who haven't lost faith in the man, and when he questions the unjust local merchant (Vijayaraghavan), he finds a few followers rallying up behind him.
The travails and tribulations of the fisher folks are never really brought to the forefront in 'Azhakkadal'. A peripheral view of their lives is all that is offered in the film, and it is much more concerned about personal issues as revenge and remorse.
The non-participant role that the sea adopts in the film is disappointing. There are a few vagrant dialogues here and there as to how the sea has been a mother to those who live by it, but they never strike a point. Having been made sans a clear purpose, they drift away in the mêlée of other statements and are lost in the sea air in no time.
The script holds no surprise, and if you take a closer look at it, the twist would be no shocker either. It all falls (un)comfortably into a conventional pattern, and in no time your interest in the story dwindles out.
Kalabhavan Mani would do a lot better if he realized that he was much better off doing significant character roles than acting in absolutely irrelevant films as these in which he gets to play the main lead, and yet does nothing. This would be another addition to the long list of Mani starrers that have sunk without a trace, of late. And if at all he is insistent on doing the lead role, the least he could do would be to check for the existence of a solid script before he ventured into it.
'Azhakkadal' has few chances of making it big at the box office. And in these monsoon days with the wind and sea being rough, the going would be quite tough and it wouldn't be long before it gets totally washed off shore.
Debutant director Shaan's film 'Azhakkadal' has the sea as the setting and it tells the tale of fishermen as well. However, as the story progresses, the milieu gradually recedes, and eventually moves out of focus. In 'Azhakkadal' the sea is a mere embellishment hence, and never for once, a character.
Kunjumon (Kalabhavan Mani) returns to the beach after sixteen long years in a delinquent home, and is still loathed by his mother and sister for having murdered his father. He has a different story to tell, but finds few ears around to listen to him. His childhood sweetheart Kochurani (Sruthilekshmi) is one of the few who haven't lost faith in the man, and when he questions the unjust local merchant (Vijayaraghavan), he finds a few followers rallying up behind him.
The travails and tribulations of the fisher folks are never really brought to the forefront in 'Azhakkadal'. A peripheral view of their lives is all that is offered in the film, and it is much more concerned about personal issues as revenge and remorse.
The non-participant role that the sea adopts in the film is disappointing. There are a few vagrant dialogues here and there as to how the sea has been a mother to those who live by it, but they never strike a point. Having been made sans a clear purpose, they drift away in the mêlée of other statements and are lost in the sea air in no time.
The script holds no surprise, and if you take a closer look at it, the twist would be no shocker either. It all falls (un)comfortably into a conventional pattern, and in no time your interest in the story dwindles out.
Kalabhavan Mani would do a lot better if he realized that he was much better off doing significant character roles than acting in absolutely irrelevant films as these in which he gets to play the main lead, and yet does nothing. This would be another addition to the long list of Mani starrers that have sunk without a trace, of late. And if at all he is insistent on doing the lead role, the least he could do would be to check for the existence of a solid script before he ventured into it.
'Azhakkadal' has few chances of making it big at the box office. And in these monsoon days with the wind and sea being rough, the going would be quite tough and it wouldn't be long before it gets totally washed off shore.
Shankaranum Mohananum
i have always wondered how it would feel like to be cold and dead. Somehow the entire scenario, complete with the cotton pushed up the nostrils and the strip of cloth strung around your face, shutting the jaw tight, never looked like something to be pleased about. Nevertheless I should admit, I have never been scared of dying. Until I saw T V Chandran's 'Shankaranum Mohananum'.
I just realized how frightening this whole process of dying could turn out to be, especially if you have a beautiful wife stacked away at home, whom you have just married. Come to think of it, you have gone bald and while fast heading towards your forties bump into a girl whose dad has had a paralytic stroke. You feel that the heaven has just opened up for a brief while and that you have had a glimpse of God, and that you are the luckiest man on earth. You can already hear the wedding shenanigans at a distance. The marriage is a dream affair of course, and when you walk out all elated the morning after the wedding, a serpent bites you, and you are dead!
Thus it all ends for Shankaran (Jayasurya) even before the beginning. There are a few things that we need to be clear about here. First, do not ever leave things half done. It's another matter altogether, that the snake is clueless about our plans, but just remember to give it your best always. And I tell you this, so that you wouldn't have to spend the rest of your dead life taking part in a fancy dress competition.
See Shankaran for instance. The long-departed man is still madly in love with his bride, and hence starts pestering his younger brother Mohanan (Jayasurya), who is alive and kicking for a change. Mohanan isn't amused at all, and it takes a while for him to sneak out from under the blankets, and to understand what Shankaran's intentions are - to let his wife Rajalekshmi (Meera Nandan) know that he is still around.
It's almost like a double tragedy has struck the poor man. He is dead and well, almost gone. And presto, he has developed this new fetish for being anyone on the streets. Three fourths of his lifeless existence that must have been contentedly spent somewhere dark and cold pushing up daisies is spent instead running after KSRTC buses and roasting in the hot sun. And it's not just the dead that gives us the creeps. Mohanan has had it up to his nose with his wife Jyothsna (Reema Kallingal) who has been away for quite a while. A fashion designer by profession, Mohanan says that he had never wanted to intrude into her freedom.
Someone was telling me the other day, that all this has been inspired from real life. Phew! We have dreams of course; all of us, of dead and living people, but when the dead ones start haunting us day and night, rest assured, that there is a huge problem somewhere. It's a tough job finding out where exactly the trouble lies, but I feel the dead should really be excused in this case. A shrink could probably be a solution.
So you have two brothers - one mortified and the other living - and you have little else on your script than the dead one imploring the other to believe in his presence. This isn't exactly material for a two hour film, and chances are quite high that not many living beings would find the torment easy. The dialogues are corny, and the plot development dismal.
Of the two brothers, Jayasurya does greater justice to Mohanan, the younger one, while the older one Shankaran looks a bit too fidgety. There aren't really any fresh challenges for him as an actor here, and eventually even the make-overs start getting exasperating. Meera Nandan is strictly okay as the young widow, while Reema is back on her home turf - playing the exotic, hard-to-reach urban girl to perfection.
So that's what we have in 'Shankaranum Mohananum'. The crossover of the director to commercial cinema, if at all it has been attempted, is a total disaster. As much as it remains a fantasy, there is absolutely nothing in the film that would confront your intellect, and there is plenty that would question your intelligence.
Vaadamalli
'Love, angst and suspense', goes the tagline of 'Vaadamalli'. It's just that there is a vehement scaling down of all the three in the film - love that looks like a synthetic emotion that comes in corked bottles, angst that feels like an itching rash that refuses to go away and suspense of the kind that you find in a scratch and win contest.
Beethoven Music College is where Vrinda (Richa Panai) arrives to study classical music. She is surprised to see Vasu (Rahul Madhav) as her senior, since they have just had an underwater rendezvous a few days back. Apparently the girl was enjoying a holiday on the Kuttanadu backwaters, when her attempt to pluck a lily had landed her in troubled waters. Vasu the savior was around thankfully on another canoe, and he is the only reason why she gets to wear those skimpy shorts today.
Just forget her wardrobe for a moment. Vrinda is from Thalassery, we are told; the kind of girl who rubs Rasnadi Choornam on the head after a bath. And if it's evening time, she makes sure to light the lamp in her hostel room and pray. With Rasnadi Choornam and the lamp - the two benchmarks of virtue - in tact, Vrinda is the ideal girl any man would fall in love with.
Well, almost. Because,Vasu is not any man. He is not dazed by the girl's overtures. No, not even when she abandons her integrity for a moment, and rushes up to the stage to plant a kiss on his cheek. We could just let go of the fact that she looked like having made the most awkward move of her life. Love is what matters, you see. Everything else is secondary.
A technique backfiring on you is not so common an instance, I agree. But you get to see even this in 'Vaadamalli'. Diverse versions of the same narrative sound like an interesting idea, but what if almost everyone in the crowd starts telling the story? The end product is a jumble with different accounts jutting into one another and continuity lapses galore.
This is a film that very rarely connects to the audience. It almost looks like a hotchpotch of still images that have been merged together, and a story thrown in at the last minute, simply because a tale has to be told. The script and the screenplay falter big time, and there is nothing much that anyone else can do about it.
I would like to specially mention two people who leave a mark even amidst all this chaos. Rahul Madhav is terrific actor material, and with the right directors and opportunities, I'm sure we would get to see more of this charming man in the future. Vaidy S Pillai has done the grueling task of capturing even the most ridiculous scenes beautifully on his camera. And the results show!
You see the first few shots of the film, and brace yourself up for a visual fiesta that you feel, is going to be different from the usual lot. The first three minutes over, you realize that life could be so unpredictable. Hmm.
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