Athiran: A psychological thriller that is visually stunning

By Mythily Ramachandran

It is a shocking sight for Lakshmi (Shanthi Krishna) when she walks into her house to find her family members dead-her three brothers and her sister-in-law lie dead under unnatural circumstances. Strangely, unaffected by everything, her autistic niece Nitya is sitting in a corner playing with a strand of string.

Switching between the past and the present debutant director Vivek narrates a psychological thriller. Athiran’s strength lies in the staging of the story with idyllic visuals captured brilliantly by cinematographer Anu Moothedath. Right from the opening scene, there is drama and a novelty in every frame.

Pillion riding on the lens of cinematographer Anu Moothedath, viewers follow Dr. M.K. Nair (Fahad Faasil)- a psychiatrist from Trivandrum Medical College on his journey. Nair arrives at a picturesque mansion reminiscent of the Victorian age-standing isolated and an enigma in the midst of  a verdant region. This is a home for the mentally afflicted and managed by Dr. Benjamin Diaz (Atul Kulkarni).  

Dr. Nair, has been deputed to probe into Dr. Benjamin’s treatment of his patients. Despite the implicit beauty of the surroundings and the classically decorated interiors there is a queer air about this hospital that caters to the very rich who have abandoned here, a family member for losing his/her sanity.

Dr. Nair’s investigation reveals that besides the five patients listed in the register, there is a young autistic woman, Nitya (Sai Pallavi) bound in chains and confined in a dark room.   It now becomes his mission to free Nitya.

The cast includes a host of talent-Leona Lishoy playing a patient who walks around in a nun’s habit and speaks verses from the Bible-Kerala state awardees Sudev Nair- as a young man in love with Nitya- and Surabhi Lakshmi -as a patient who is concerned over Nitya. 

The story belongs to Fahad Faasil and Sai Pallavi. This is a role Faasil can sleep walk into. Sai Pallavi’s Nitya is a complete contrast to her debut role of Malar from ‘Premam.’ With hardly any dialogues, Pallavi brings to the fore an autistic woman’s plight. And, she does it without going overboard. Renji Panicker as Nitya’s father brings poignant moments. 

Vivek who earlier worked as creative producer with MTV India and Walt Disney has not assisted any director nor attended any film school. He shows promise on his debut.

Playing the perfect tango to his vision is cinematographer Anu Moothedath’s frames. Sometimes bewitching viewers with Nature’s moments-a line of ants crawl carrying leaves-Moothedath takes you indoors into Dr. Benjamin’s mansion with its elegant interiors-a bull head staring from the wall while a black cat with glowing eyes silently watches Dr. Nair being ushered in.  Great attention has gone into detailing every scene.

Ghibran’s music adds to  the sense of foreboding in the story-soft and ominous especially in the night sequences. Some loose ends mar ‘Athiran’ from becoming a much better film. It’s the reveal in the climax that holds up ‘Athiran,’ as an interesting thriller.


 

‘Premam’ is a delightful entertainer with Nivin Pauly in the lead

By Mythily Ramachandran

‘Premam’ obviously is a love story, as the title suggests. Written and directed by Alphonse Puthran, viewers are treated to not just one love story but three love stories within one film. ‘Premam’ traces the life of George (Nivin Pauly) from his teens when he falls in love with Mary (Anupama Parameswaran), belonging to the same parish and how he pursues her to give her a love letter. This phase will connect with the young generation and takes others down nostalgic road of being in love and heart break.
George faces his first rejection when Mary introduces him to her lover and even seeks his assistance to keep her father at bay.
In college, George falls in love again, this time with Malar, (Sai Pallavi) a young lecturer, who reprimands him on her first day at college.
George is unlucky in love again.
George is well past his prime and in his thirties and managing a cake business when he meets Celine (Madonna Sebastian). Celine happens to be the little girl from the neighbourhood who accompanied Mary to school. Is she the woman meant to be in his life?
Puthran’s signature is visible from the minute the curtains rise and the credits roll. You are reminded of his debut film, ‘Neram,’ and the expectations for a good evening soar.
Puthran’s unconventional style of narration and the freshness in the humour that abounds in plenty throughout is amusing.
Nivin Pauly does a brilliant job. He transforms himself completely, going through each phase perfectly. Undoubtedly ‘Premam’ rests on Pauly’s shoulders. From a giddy headed teenager to a tough college goer who is edging for a fight to finally emerging as a mature and responsible man, Pauly has packed in quite a punch.
Vinay Fort plays a lecturer who is besotted with Malar. His scenes with Soubin Sahir as the PT instructor are a roar. Several new comers have acquitted themselves and are a talented bunch. Krishna Shankar and Shabareesh Varma as George’s close buddies lend the right support to Pauly. Their chemistry onscreen rocks. New find Anupama Parameswaran has few lines to deliver and conveys mostly through her eyes and her smile. Her curly locks give her a distinctive and attractive look.
On the other hand, Malar is talkative and brimming with energy with a smile always playing on her lips. Sai Pallai on debut steals the thunder. There is a positive air about Malar and Pallavi’s natural performance enriches the beauty of her character.
Madonna Sebastian as the third woman in George’s life is another talent to watch out for. Don’t miss Puthran making a guest appearance as Roney, Celine’s groom.
Cinematographer Anand C Chandran’s camera captures beautifully the small town ambience as well as the classy interiors of George’s restaurant.  
‘Premam’ is a fun entertainer, a simple love story of the boy next door. Like it’s tagline reads ‘nothing extraordinary in it.’
However ‘Premam’ stretches a tad too long, often indulging in itself, especially in the second half and with not so funny jokes. It called for better editing.   By the way, why bring Malar back just when all seems to be going well?