Debutant director P.R. Arun poignant sports drama is led by Rajisha Vijayan and Niranj Pillai

By Mythily Ramachandran

Theater director and scriptwriter of ‘Jamna Pyari’ (2015) P. R. Arun rides into Malayalam cinema with a poignant story of a national cyclist champ and her father’s dreams. But this is not a regular story of an underdog battling against all odds to eventually emerge triumphant. It is about two men and their love for a woman who goes through a tragedy. How do they deal with it?

Alice Verghese (Rajisha Vijayan) was in primary school when she got her first bicycle-a gift from her father (Suraj Venjaramoodu). Since then she has enjoyed riding, especially challenging her close friend, Manuel-living next door- into a race with her. While he sprinted on foot to school, Alice sped on her cycle.

Soon cycling becomes a passion for Alice. Egged on by her father- Verghese a former athlete- she put the little town of Katappana in Iddukki on the national map as a national champion. Alice is now gearing up for the Tokyo Olympics. A mishap punctures the dreams of this father and daughter.

Another filmmaker would have chosen to follow the time tested template and make it a story of Alice’s return. Arun- recipient of G. Sankara Pillai award (2003) for Best Playwright in Malayalam for the drama ‘Phaeton’- follows his own path. Without going the ‘Chakde India’ or ‘Dangal’ way, ‘Finals’ wheels on its solo track with a simple story told without cinematic frills and elevated with an astounding performance from its cast.

This story of an ordinary family has several moments that the audience will relate too. In the absence of her mother, Alice and her father share a close bond. The scene where Alice takes permission from her father to express her love for Manuel is beautiful. Vijayan’s   Alice is unlike her earlier films, yet full of life. Vijayan does not go overboard with her portrayal.

Suraj Venjaramoodu is the show stopper here. Speaking little, his Verghese is a man defeated in life but finds meaning in life through his daughter and her dreams.  Venjaramoodu speaks more through his eyes-Verghese’s disappointment, sadness and anger is tapped through glances. Venjaramoodu wins hearts.

Surprising viewers is Niranj, who has worked in other films earlier. This is clearly his big break. With well etched characters, director Arun makes viewers invest in their lives. Manuel with full sleeved shirts and flip flops undergoes a sea transformation in the second half of the story. His love for Alice is free from valentine moments. Their love is  felt in moments together-when Alice goes on her morning sprint and hails out to Manuel who is busy distributing newspapers-in a challenge to overtake her-a ritual that goes back to their school days. Manuel’s love is the kind every woman yearns for -unselfish, caring and so true. Niranj meets his director’s vision completely as he delivers Manuel.

And as Arun takes his story on a different route, he also raises voice about politics in sports and step-motherly treatment meted out to sportspersons. There is a lot of warm vibes and good will with respect to the fringe characters. Shot in Kattappana  district of Idukku, DOP Sudeep Elamon’s frames are a feast for the eyes.

‘Finals’ proves again that a good story told from the heart will reach far and near. Certainly not the loud noise made by a starry cast. Don’t take the audience for granted. 

‘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.

'Thondimuthalum Driksakshiyum’ a hilarious tale 

By Mythily Ramachandran

What if you were a fly on the wall inside a police station or a bird perched on a tree in one of those small towns of Kerala? You could spend the entire day watching people around and their life stories unfold.

‘Thondimuthalum Drikshasakshiyum’ (The Mainour and the Eye Witness) is one such story that director Dileesh Pothan narrates in his inimitable style. Marked by realistic frames and exemplary performances, Pothan and Fahad Faasil return with another winner. Their last film, ‘Maheshinte Prathikaram,’ won two Kerala state and two national awards this year.

At the core of the plot is a simple knot, when a small time thief (Fahad Faasil) steals a chain from the neck of a young woman while travelling in a bus. Srija, (Nimisha Sajayan) the victim had dozed off but wakes up in time to catch the thief in his act. The thief outsmarts her by swallowing the chain. Srija raises a hue and cry. Her husband Prasad (Suraj Venjaramoodu) sitting on the other side of the row rushes towards her. The thief vehemently argues that he never took her chain. ‘She must have dreamt it while in her sleep,’ he suggests.

Co-passengers come to Srija’s aid. Some even slap the thief. Soon the bus is driven to the nearest police-station. What happens at the police-station over the next few days? Does Srija get her chain back? 

With a chain snatching plot one would expect a lot of drama that could have turned into just another thriller. ‘Thondimuthalam Drikshasakshiyum’ does not follow that route. It makes its own path as the story progresses and keeps you guessing all along. 

With hilarious situations captured inside a police station that is enhanced with touches of realism and natural performances from the entire team, director Dileesh Pothan proves that ‘Maheshinte Prathikaaram’ was not a mere flash in the pan.
 Sajeev Pazhoor has written the story and screenplay. Syam Pushkaran, who won the national and Kerala State Award for Maheshinte Prathikaaram, is credited with the dialogues.  

You can see the love with which each character has been sketched. The lead players, Srija is an ordinary young woman yet with a mind of her own. Her relationship with Prasad begins on a wrong note when he notices her purchasing a pregnancy testing kit. Through a common friend, he relays this to her father. An angry Srija confronts Prasad who is embarrassed on his goof-up and before they know it the young couple is in love. Srija’s parents disapprove of the inter-caste match and they leave town to make a new beginning in Kasargode.

Suraj Venjaramoodu is a brilliant performer whose talent only a few directors have explored. Dr. Biju revealed another side to the comedian in his national award winning film, ‘Perariyathavar.’ Pothan brings that out again here.
With his subtle acting, Venjaramoodu convincingly draws out the simple guy Prasad, who cannot harbor malice for anyone including his father-in-law.
No one could have been as convincing as the versatile Fahad Faasil. He is brilliant as a thief, cocky and confident even when in the wrong and takes life’s situations most casually. 

Newcomer Nimisha Sajayan matches step with the two veteran actors and is a bundle of promise. Her eyes are her strengths and she exploits them well. Her grim expressions, her anxiety at the loss of her ‘thali’ (wedding chain), her angry looks darted now and then at the thief are spontaneous. The Mumbai raised actress slips into a lower middle-class Srija’s skin with ease. 

A host of characters make up ‘Thondimuthalum Driksakshiyum’ and they stay with you long after curtains fall-Sudhakaran, the trouble maker who is confined in prison till the temple festivities are over, the writer at the police station who is always in mufti, the Sub-Inspector keen on delivering justice and the Head Constable (Alencier Ley), on a punishment posting. In fact, 23 real policemen have made their cinema debut.  Sibi Thomas as the SI impresses. The casting is so perfect. Even the chemistry between Srija and Prasad so well played out. 

The mystery around the thief keeps the story engaging too. He has no identity nor does he reveal his real name. He takes on Prasad’s name. And boasts about his paratha making skills in a nook side hotel that is greeted with asides and banter by the policemen. Fahad Faasil plays the wily trickster to the T.

Complementing the beautiful narration and seamless flow of the story is Rajeev Ravi’s brilliant camera work. The national award winning cinematographer hovers around the police station, now and then stepping outside, sometimes capturing a temple celebration mood in bright colours or lighting up in twilight frames when watching over Srija and Prasad in their home. The long chase scene through the woods that ends in a canal with Prasad holding onto the thief, whom he has finally caught is remarkable.

Realistic shots and attention to finer details add to the film’s strengths. When everyone is heading to the hilltop where the thief is being taken for his morning ablutions, Srija also joins her husband. Suddenly Prasad turns to her and tells her-‘you don’t have to accompany me here.’ You smile with Srija. Humour is squeaky clean.  

Bijibal’s music complements the narrative.
‘Thondimuthalum Driksakshiyum’ finds itself a place among the beautiful gems of Malayalam cinema.

‘Deivathante Swantham Cleetus’ is just another entertainer

In a small village of Kerala, a priest, Father Sunny (Siddique) plans on a sound and light show depicting the life of Jesus Christ.
While searching for an actor to play the Lord, he comes across Cleetus (Mammootty) and is impressed with his calm demeanour and physical looks. He finds in Cleetus a striking resemblance to Christ. After much persuasion Cleetus agrees to play Jesus Christ.
Trouble starts during the rehearsals when the true colour of Cleetus is revealed. While the rest of the cast members are shocked to learn that Cleetus is a local criminal, Father Sunny believes in giving him a chance to reform. He hopes that in essaying the character of Christ, Cleetus might turn over a new leaf.
Does Cleetus live up to the image he essays on stage?
Marthandan, as associate director in the Malayalam industry for several years makes his directorial debut with this film.

Yes, with Mammootty in the central role of Cleetus, the story is predictable. And of course there is a villain who has a score to settle with Cleetus. Expect fist fights too.
Honey Rose, who is best remembered for her role in ‘Trivandrum Lodge,’ plays a character in total contrast to Dhwani, the divorcee. As Lakshmi, a single mother with a little boy, Rose portrays a demure yet a bold woman.
There is good humour to keep you chuckling. And I am not referring to Suraj Venjaramoodu’s comic antics that have become so repetitive but are supposed to make viewers laugh. Hilarious moments revolve around P. Balachandran playing an aging dramatist in this film, but who is keen on playing Jesus Christ, much to Father Sunny’s annoyance. Aju Verghese as Cleetus’ side kick impresses with his comedy too. Mammootty does not disappoint his fans either. Siddique is at his usual best.
The spectacular visuals captured by cinematographer Pradeep Nair are a treat for your eyes.   
‘Deivathinte Swantham Cleetus,’ entertains, nothing more.