Sufiyum Sujatayum’: A story told from the heart

Marked with terrific performances and visuals, this love story remains true to its genre

Since time immemorial, parental pressure and religion has kept lovers from uniting. Debutant director Naranipuzha Shanavas’s ‘Sufiyum Sujatayum’ follows the life of Sujata (Aditi Rao Hydari)-a speech impaired young woman and her love for a Sufi (Dev Mohan).

The film opens with Sujata (Aditi Rao Hydari) and her family-husband Rajeev (Jayasurya) and daughter- living in the middle-east. The following morning Rajeev receives a message. His wife’s former lover is dead and the burial is planned that evening. Rajeev does something not many men will do. He flies to India with Sujata so that she can pay her last respects to her Sufi. Rajeev hopes that it will bring a closure to a past that has been intruding into his present.

Shifting between the past and the present Shanavas stays true to the genre while resisting temptations to making it a melodrama. Neither is he keen on biting the bait of a communal line lying underneath.  

‘Sufiyum Sujatyum’ opens with promise, falters midway but finds its feet ultimately to usher in a dawn filled with love. While the narrative is told from Sujata’s perspective, the Sufi remains an enigma. What inner turmoil does he go through when in love? ‘Sufiyum Sujatayum’ could have reached its full potential if more focus had been given to the Sufi.

You can’t help remembering another Malayalam story- ‘Ennum Ninte Moideen’- where religion came in the way of love. ‘Ennum Ninte Moideen’ found its rightful place solely due to its brilliant writing and pathos filled scenes executed perfectly by Prithviraj and Parvathy.

Yet, Shanavas’s maiden film deserves praise on several counts. There are aspects in his screenplay and staging that indicate he is a talent to look out for. The town where the story is placed is in harmony with Hindus and Muslims living together. Sujata often visits Aboob-Sufi’s mentor- and her father (Siddique) is fine with it until she falls in love. 

Small details make many scenes real. The burial scene is shot in a methodical manner. When Rajeevan tosses a handful of soil in the grave, he is burying a past. For a moment he almost slips into the grave but is pulled back by someone. A simple touch added there. 

Siddique’s emotional outburst in a scene left me with goose bumps. The veteran was spot on as Sujata’s father.  Kalaranjini complements Siddique well. You can’t help smiling at this naïve woman. In one scene she brings a cap that she stitched for her grand-daughter and gives it to Rajeev. When he remarks that it was a bigger size, she has an answer-‘a safety pin will correct that.’

Shanavas sprinkles humour during tense moments-the cab driver when  intercepted by the police for speaking on his mobile, blabbers about his wife being suddenly pregnant instead of ‘pregnant wife had to be suddenly rushed to hospital.’ The driver made me smile in another scene where Rajeev calls him up to check for his lost passport. The driver says that the passport was not in his car, but before calling off, he shares news of his wife’s delivery.  Who comes up with situations that mirror life?

Aditi Rao Hydari brings in the vulnerability of a woman hindered by speech yet fearless in love. Looking beautiful with barely there make up, Hydari lights up every frame. Remarkable is the scene where she breaks down following a close family member’s death.   
Dev Mohan is earnest in his role and impresses on debut. As the Sufi, he carries a warm glow. Manikandan Pattambi whose character turns the course of the story is a spontaneous performer. The graveyard scenes involving a search for something lost keeps the adrenalin going with a dread-‘What if? 

When curtains fall, it is Rajeev who lingers long. Jayasurya’s subtle body language conveys well Rajeev’s relationship with Sujata. Though frustrated with his wife’s past and bristling with anger inside, Rajeev’s love for Sujata surpasses everything. Jayasurya is fantastic. 

M.Jayachandran’s music is soulful melody. The song, ‘Alhamdulillah’ is divine while the lyrics of Hindi song ‘Kya Karoon’ beautiful. DOP Anu Moothedath’s frames are spectacular from the word go-every frame   created with care- and some are surreal.

‘Sufiyum Sujatayum’ is not about love only but in understanding the one you love.

‘Njan Marykutty’-a sincere story told honestly

Sankar’s sensitive narrative and Jayasurya’s pitch perfect performance leaves you overwhelmed

By Mythily Ramachandran

Njan Marykutty’ is a soulful story that touches your heart while unfolding the life of a woman   trapped inside a man’s body-of a journey that seeks liberation and realisation of dreams.

A first of this genre in Malayalam cinema, ‘Njan Marykutty’ is shorn of the usual ridicule that often accompanies the characters of transgenders portrayed onscreen. Director Ranjith Sankar’s  writing is marked with sensitivity and devoid of melodrama- yet most poignant, leaving you misty eyed.

Right from the word go, ‘Njan Marykutty’ stoked curiosity online once Sankar posted pictures of actor Jayasurya piercing his ears to play Marykutty. 

What does it feel to be a woman trapped inside a man’s body?
Ask Mathukutty, (Jayasurya), a software professional, who strongly believes that he is a woman. He leaves home one night after writing a note to his parents refusing to marry the girl they had arranged. 

After undergoing a sexual reassignment surgery, Mathukutty becomes Mary Kutty. From then on, it’s the life she stakes claim to- as an individual who is trying to achieve her goal solely on the merit of her talent. But is Marykutty’s family and the society around ready to embrace the new person?

The writing is solid. It’s not just Mary Kutty but every  character in the story is well-detailed, making them believable.
Jayasurya’s Mary Kutty stands dignified as she dares to fight against her birth identity. While there are enough enemies to thwart her dreams, Mary Kutty’s life is not bereft of good samaritans-her schoolmate, the single mother (Jewel Mary) with a daughter who takes in Mary Kutty; the church priest (Innocent) who is the pillar on which Mary Kutty leans upon and the understanding district collector (Suraj Venjaramoodu). 

It’s clearly a career defining role for Jayasurya who carries Mary Kutty gracefully within him. Be it in her sari clad attire, or in her gait, you notice the woman yearning to find her own place. Despite the barbs thrown at her by people around, Mary Kutty is never embittered. Neither is she holding any grudge against anyone nor angry with God, her creator. That’s what is most beautiful about the character and the writing.
The moment where she breaks down inside the prison following a humiliation brings out the finer aspect of the actor Jayasurya.

Safe in  Jayasurya’s hands, Marykutty’s tale comes with her feelings respected, her ambitions understood, eventually becoming the voice for the other Marykutty’s around, who are grappling with their identities.

 Keeping pace with him is actor Joju George. As sub- inspector Kunjipalu, he is out to take a vengeance on Mary Kutty. Wth a supportive subordinate he indulges in crass jokes, while revealing the highhandedness of the police force. George is brilliant.  

As for people around, they are visible in the gazes averted, hushed whispers and references of ‘ee Sadhanam’ (this thing) when Mary Kutty walks amidst them. 

One scene stayed with me-the moment when Mary Kutty needs to use the loo and she does not know whether to enter the male or  female  room- she eventually walks into the one meant for disabled persons.

‘Nyan Mary Kutty’ breaks out of the mould of Indian cinema stereotypes and a film that finds a place in history. Tip my hat to Sankar and Jayasurya.  

Will this bring home another national award for Jayasurya like it did for Kannada actor Sanchari Vijay for his portrayal of a transgender in the film ‘Naan Avanalla Avalu (I am a He not a She)?

Captain: Jayasurya carries this poignant tale of an unsung hero on his shoulders-a tribute to late V.P. Satyan

By Mythily Ramachandran              

‘Captain’ is the story of a man who loved football beyond himself- so intense was his love for the game, that unheeding his coach’s advice, V.P. Satyan of Kerala Police continued playing in a match despite an injured foot. And, dismissing the agony of his foot, Satyan brought glory to Kerala with the Santosh Trophy- a cup that had been eluding the state for the past nineteen years. Journalist turned director Prajesh Sen scores a goal on his maiden attempt.

‘Captain’ is told in a non-linear narration. Sen takes viewers back and forth  through Satyan’s life. Beginning with a match in 1999 in Kathmandu, where Satyan missed a penalty shot, Sen  brings us back to Pallavaram station in Chennai where Satyan met his end on the railway tracks. The outstanding football player who led India nine times became a depressed man when unable to play football-his first love as he claimed always to wife Anitha.
Satyan grew up in Kannur where he found his first love-he picked up a pair of discarded shoes to play football. An injury during his childhood days never healed, accompanying him through life. From a much  feared key player in the local clubs, Satyan’s rise in the football arena is laid out.  

‘Captain’ is also the story of Anitha, Satyan’s wife. She never wanted to marry a football player in the first place and disliked policemen too. After declining his proposal initially, Anitha finds love in Satyan and the devoted wife quits her engineering studies to support his passion for football.

Jayasurya throws himself completely into the role and in the gifted actor’s hands, Satyan is an ordinary man with his own weaknesses. Anu Sithara is pitch perfect, complementing Jayasurya’s performance. And you feel for the man who battled suicidal tendencies. More so for the widow and the daughter, who are left behind. Did football kill Satyan?

Mention must be made of the good performance by the supporting actors-Siddique as a crazy football lover and Satyan’s well-wisher; Renji Panicker as Satyan’s coach; Janardhanan as the Chief Minister whose encouragement went a long way for Satyan and Saiju Kurup as the arrogant senior police officer who humiliates Satyan.

 

‘Amar Akbar Anthony’ a film that does not take itself seriously

 With a title like this, Nadir Shah’s first film is bound to grab attention. Opening with a word of caution about employing north Indian migrant workers in Kerala, it promises tall. Soon the story shifts to introduce us to three friends, Amar (Prithviraj), Akbar (Jayasurya) and Anthony (Indrajit).  

The trio have set dreams on visiting Pattaya and experiencing the much advertised night-life there. But every time, a family commitment brings their dreams to the ground.  Like many youngsters, their lives are no different. Besides work, they find fun in booze and trying to impress Jeni, (Namitha Pramod), an upcoming artiste. Namitha is just a pretty picture, her character is mere eye candy. 
The first half is supposed to provide humour but the comedy scenes barely tickle you. You don’t even understand where it is headed towards. Clearly not Pattaya!
The second half turns serious and so do our three friends. A social message makes you sit up towards the end. There was enough scope to make it a better story but the narration is a big let down. Neither did the presence of a multi-star cast save it.
Like the characters of the story, don’t take ‘Amar Akbar Anthony’ seriously.