'Drama’ unoriginal and shoddy

By Mythily Ramachandran

Despite a good cast, this movie is disappointing due to bad writing

The premise of 'Drama' — about respecting a mother’s last wish — is heart warming, but it soon turns its focus on the lead actor, Mohanlal, thus becoming a tragedy of errors.

The film opens in Dubai, where Jomon is on the phone with his mother, Rosamma (Arundhati Nag), now in London with her youngest daughter, Mercy (Kaniha). She tells him that whenever she dies she would like to be buried next to her husband in Kattapana, Kerala.

In London, Rosamma is happy spending time with Mercy and her children. It’s a bright morning when her end comes.

The scene preceding her demise is beautiful. Wearing a fine sari, Rosamma is ready to take on the day. Her son-in-law (Shyamaprasad) compliments her. After waving her grandchildren off to school, she picks a bunch of fresh flowers and goes to her bedroom. She lies down, cross in hand and prayers on her lips. Slumber takes over and a peaceful Rosamma departs still holding the flowers.

The funeral will take place in London and Rosamma’s four other children, living in different parts of the world, arrive at Mercy’s home. There is nothing new in the characterization of Rosamma’s children — a stingy and bossy elder brother, a greedy son-in-law and a manipulative older sister. Why is the youngest always the under-achiever who ultimately cares for the parents?

Dixon Lopez Funeral Services, an undertaker agency, is entrusted with the funeral arrangements. But Jomon is not happy. Remembering his mother’s last conversation, he wants to take her body home to Kattapana to be laid next to his father’s grave.

Intended to be a satire around Rosamma’s funeral, the story veers off track with the arrival of Rajagopal (Mohanlal), the other partner of Lopez. The drama now shifts from Rosamma’s family politics to Rajagopal, who is trying to win his wife (Asha Sharath) back and find his way home. There is enough drama, though it’s of little significance. Mohanlal entertains audiences, no doubt, especially the scene where he shares his drink and chocolate bar with Rosamma lying in the coffin box.

Drama suffers from patchy writing. Despite a formidable cast — Dileesh Pothen, whose Lopez keeps you chuckling as he tries to make the most of this business opportunity; Asha Sharath as Rajagopal’s wife in a role that does little justice to her potential and Renji Panicker as the local political leader — Drama disappoints. The sexist jokes thrown in are old hash and barely tickle. Neither can the splendid visuals of London save the sagging script.

‘Neerali’ review: Mohan Lal impressive in gripping thriller

The survival story loses momentum in its second half, but keeps viewers’ interest with stunning visuals and great performances

By Mythily Ramachandran

In the middle of a jungle, where the only sound of human life is a priest’s sermon coming over the speaker of a church in the ravines below, gemmologist Sunny George (Mohanlal) is injured inside a van that hangs precariously from the tip of a precipice. Any slight move can tip the van into the valley below. Sunny’s life now dangles on a thread, along with that of his unconscious and injured driver, Veerappan (Suraj Venjaramodu).

Directed by Ajoy Varma and based on Saju Thomas’ story, Neerali is about survival. All the odds are against Sunny as he tries different ways of seeking help. Outgoing calls on his mobile are blocked for not having paid the bill and his office secretary, despite instructions, has failed to do so.

If Veerappan’s phone lying at his feet seemed like a glimmer of hope for Sunny, he soon realises that he can’t reach it past his unconscious driver without sending the van below.

The story shuttles between the jungle and life outside, gradually taking us into the lives of Sunny and Veerapan. Sunny’s pregnant wife Mollykutty (Nadiya) has been rushed into hospital with labour pains. His colleague Naina (Parvathy Nair) is in love with him and believes that he loves her too. She is angry about her transfer to Delhi. Veerappan’s financial woes has affected his relationship with his only child — a sports loving teenager proud of her medals.

Neerali begins with promise. The way the accident has been orchestrated is believable as the van swerves off track down an incline to eventually perch itself on the brink of a cliff.

Mohanlal is brilliant as he battles through diverse emotions with Sunny trapped inside the van’s seat. The star is not given a larger than life image but is an ordinary man with his weaknesses and vulnerability.

While Nadiya has little to do besides the trauma of a delivery, it is Nair who impresses as Naina — a possessive young woman. 

While the story loses its momentum in the second half, the holes in the plot are made up by cinematographer Santosh Thundiyal’s visuals, he aura of the jungle under a star lit sky is captured magnificently, while a lone monkey watches Sunny’s ordeal.

‘Ennum Eppozhum’ a clean family drama

Vineeth N Pillai, (Mohan Lal) yes with the emphasis on ‘N’ is a senior journalist of a woman’s magazine ‘Vanitharatnam.’ A bachelor who is still searching for a woman with the bold traits of his mother, Pillai does seems out of place in the new order of things that is being planned by Kalyani, (UAE resident Reenu Mathews) the new editor.
London educated Kalyani is on a mission to revamp the magazine, until now under the management of her mother. Right from her first meeting she disapproves of Pillai’s attitude and style of working.
She is keen on removing him from her company but before that she assigns him a story. |Pillai is asked to interview Deepa, (Manju Warrier) a lawyer who grabbed headlines for protesting against the poor road conditions in the city after she falls into a pot hole while riding her two-wheeler.
Pillai meets Deepa but she refuses an interview.
Will Pillai file his story that is being slotted as the cover story for the new issue of ‘Vanitharathnam?’ That is a big question not only for Pillai, but for Kalyani too, who considers him an irresponsible reporter.
‘Ennum Eppozhum,’ is a typical Satyan Anthikad film, a clean family entertainer.
Manju Warrier on her second outing handles her role with maturity. Deepa, a contemporary woman and a divorcee with a child is a picture of strength yet graceful, reflecting the lives of quite a few women today. Playing Deepa’s close friend, Farah, a businesswoman is Lena. Farah’s marriage is crumbling, yet she bears it stoically.
Ranjan Pramod’s screenplay mirrors today’s woman, who takes life’s challenges in her stride without resorting to melodrama. We don’t get to see the husbands of the wronged women, leaving it to viewers’ imagination.
‘Ennum Eppozhum’ makes no lofty pretensions but narrates a simple straight story that could be yours, or your neighbour’s or maybe the lady up the alley.
Can a Sathyan Anthikad film be without humour? Remember his classic hits of the eighties, like ‘Thalayanamanthram,’ ‘Nadodikattu,’ ‘T.P. Balagopalan M.A and ‘Gandhi Nagar 2^nd Street.’
Innocent who has done the maximum number of films with Anthikad plays Kariachan, Deepa’s friendly neighbour. Kariachan and his wife are always there to help Deepa in times of need.
It’s fun to be treated to good clean humour, without wincing at double entendres and toilet humour that has become a constant staple in some of new gen films.
Mohan Lal and Manju Warrier’s pairing works well and the bond between the lead characters grows in a subtle way. Lal as the laid back journalist who seems to goof up things first is endearing. Supporting him during comic moments are Jacob Gregory and Minon who deliver good  performances.
Vidyasagar’s melodious music is a refreshing break from the loud numbers that have become the order of today.
For one who believes in making only one film a year, director Anthikaad  has always succeeded in touching a chord with the family.
To many more such films from the veteran, Ennum Eppozhum (Forever Always).      

Leave your brains behind if you are out to grab this ‘Peruchazhi’

A telephone call from California’s Sunny Kurishingal (a marketing campaigner of Republican candidate, John Kory,) to his friend, Minister Francis Kunjappan in God’s Own Country sets ‘Peruchazhi’ rolling. 
Kurishingal an ambitious Malayali, rather known as the ‘emerging Malayali,’ requests Kunjappan to send someone over to help him improve Kory’s chances at becoming a Governor. Kory’s opponent is Democratic candidate George Hope.
Much against his wishes, Kunjappan is left with no other alternative but to send the wily Jagannathan, who becomes a political consultant in Kurishingal’s campaign. Accompanying Jagannathan on his USA mission are his two side-kicks, Jabbar (Baburaj) and Varkey (Aju Verghese).
Director Arun Vaidyanathan’s story is unpretentious as it takes a dig at Indian politics in particularly the Malayalis as well as American politics. Not to forget the Chinese and their finesse for duplicating products.
Viewers are clearly warned when the screen opens to leave logic behind.
So you have Kory gallivanting onscreen as a dumb clown while Jagannathan and his two aides go about tickling your funny bone. Be prepared for some amateurish comedy, sexist jokes and toilet humour. And a good sprinking of double entendres!
While ‘Peruchazhi’ is an out and out entertainer with Mohan Lal ruling the scenes, it cannot be counted among Lal’s great comedies. Celebrating Lal’s career are references to his hits of the 80s and 90s. Watch out for Poonam Bajwa’s item number, ‘Po Mone Dinesha,’ with Lal’s quick moves. Of course, our wily bandicoot, (Peruchazi, Jagannathan’s nickname) has a heart that beats for the less privileged when it comes to sports. 
Lal fans can rave over his antics onscreen including his knack for turning the US flag into a dhoti folded up in his inimitable style and bashing up the bad guys.  Didn’t we warn you about leaving your logic behind? Munch on the pop-corn in between chuckles and just don’t ask questions.
Mukesh as Minister Kunjappan and his stupidity plays the role to the hilt. Another impressive performance is from producer Vijay Babu as Sunny Kurishingal. English actor Sean James Sutton as John Kory entertains. Bollywood’s beautiful Ragini Nandwani keeps romance alive as Jesse the hooker who wins Jagannathan’s heart. Ramesh Pisharody, Baburaj and Aji George in supporting roles do well. However, the screenplay could have been worked on for a better satire though. That’s where the director of ‘Achchamundu Achchamundu’ disappoints.

Mr. Fraud’ an out and out Mohan Lal show, yet entertains

Bhaiji (Mohan Lal) is a professional thief known for easily duping his targets and robbing them of their wealth. But that is not his real name. And no one knows what his real name is either. All he shares is a professional relationship with his clients and it ends there.
Bhaiji is known to mastermind his heists smoothly. On one such project Bhaiji poses as a stage singer and performs at a wedding ceremony. (Don’t miss the Jamaican look that Lal sports). While the audience is still in raptures over his music, Bhaiji pulls wool over his hosts’ eyes and walks off with crores of cash. Helping him in his operations are his two accomplices, Abbas (Vijay Babu) and Priya (Manjari Fadnis).
Bhaiji now wants to quit his profession. But before that he is hired to rob a royal treasure that has been kept locked under court’s orders for  four decades and more.
Bhaiji prefers to execute this last project alone. But Abbas and Priya insist on joining him in this heist. They are fond of their mentor and wish to spend some more time with him. And they are not even looking at a share in the profits.
So the trio lands up at this family mansion in Kerala, where the treasure will be unlocked under government supervision. Bhaiji poses as an evaluator, Sivaram who has been appointed by the family to assess the treasure.
Mind you, the treasure is well guarded. Besides gun toting guards keeping vigil round the clock, the security system here boasts of the latest technology.
How will Bhaiji pull off this one successfully?  Not to forget the prying eyes of family members and a police officer, Sajan, who are studiously watching him.

This is Unnikrishnan’s third film with Mohan Lal. From the word go, it is a Lal show all the way. Bhaiji in his salt and pepper looks is quite a stealer and a far cry from George Kutty of ‘Drishyam.’ Lal, the versatile actor that he is, pushes away the hangover of George Kutty from viewers’ minds.
Other actors also deliver a commendable performance. My count begins with Sai Kumar as the corrupt policeman and Siddique as a communist activist. Playing Siddique’s adopted daughter, Saraswati is Mia George, who comes thumbs up too.
After playing mother to two children in the Mammotty starrer, ‘Silence,’ television actress, Pallavi Chandran proves that she can slip into the garb of a sensuous role too. As Damini Varma, a member of the royal family Chandran , in the little time that she is onscreen,  will not be easily forgotten. Her one liner when she meets Bhaiji the first time had viewers hooting.
Manjari Fadnis and Vijay Babu complement Bhaiji’s character well.
There are flash backs into Bhaiji’s  childhood but nothing is clear as to why he chose this path.
Well with a mass entertainer, you don’t ask questions. Predictable? Yes. High action scenes to match Lal's larger than life image? Yes.
But one thing you can be sure of Mr. Fraud,' he does not cheat you of fun and laughter.

Pranayam

A poem on celluloid written in the signature style of Blessy

Achutha Menon, a retired man finds himself suddenly hurled back into the past, when he accidentally meets his former wife and lover, Grace in the apartment lift. The shock of meeting his wife forty years later takes its toll on the old man’s heart. Grace immediately admits him in a hospital. She is now caught in a quandary. On one hand is her husband, Mathews, whom she loves immensely and who needs her assistance for every little thing being wheel chair bound. On the other hand, her ties with her former husband often surface up with bobbing memories. She yearns now to bond with their son, whom she last saw as a two year old. But is greeted with animosity by him, a young man now working in the gulf. For he has grown up believing  his father’s words, that his mother had forsaken him for a new life. Deprived of a mother’s love, he holds onto a deep rooted anger towards Grace. Only one person understands Grace’s emotions, the juxtaposition of the past with the present, and that is Mathew. A former philosophy professor, Mathew’s zest for life is reflected in his saying, ‘Life is more beautiful than a dream. You just need to know how to live life.’ Trusting his wife, whom he loves very much and bonding with Achutha Menon, Mathew reveals the magnanimity of his heart. This love triangle breaks stereotypes with its sensitivity and poignant portrayal. Blessy’s in his inimitable style reveals the battle of emotions in Grace, who is torn between love and affection, often leaving a lump in your throat. 

Plus Points: Mohan Lal as Mathew, Anupam Kher as Achutha Menon and Jaya Prada as Grace essay a brilliant performance. It is hard to single any one actor as the best. The on screen chemistry between Mohan Lal and Jaya Prada is beautiful. Notable are other cast members for their impressive performance especially Anoop Menon as the son Suresh and Apoorva as the grand- daughter Megha. Music by M. Jeyachandran is melodious. I loved the song, “ I am your man,’ song by Mohan Lal. Several moments from the story linger in the mind, like the one where Achutha Menon takes Grace and Mathew across a stony incline to view a colony of butterflies.

Minus Points: The flash back sequences featuring a young Grace and Achutha Menon were quite melodramatic and uncalled for. 

Camerawork:  Satheesh Kurup’s work  is breathtaking. You have to see it.

Verdict: A clean family drama that tugs at your heart strings with its moving moments