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

Muran

This psychological thriller starring Cheran and Prasanna in lead roles entertains

Said to be inspired by Alfred Hitchcock’s ‘Strangers on a train,’ Rajan Madhav’s ‘Muran,’ brings two strangers together while on a road journey. Nanda (Cheran) is a promising guitarist who has signed his first film and is returning home. Enroute, his car breaks down thanks to a rowdy group of young men travelling alongside him. Arjun, a business tycoon’s only son and an arrogant playboy gives him a lift. Little does Nanda realize that his life will not be the same anymore, what with Arjun, who has a penchant for adventure and wild thrills. Initially Nanda is not keen in participating in such fun, but Arjun with his charm and easy banter manages to get Nanda to join him in such activities. As the story unspools, viewers learn about Nanda’s unhappy marriage. You also learn about Arjun’s past and his relationship with his father. And just when you start feeling that Arjun is not that bad after all, comes a new twist in the tale with the death of Nanda’s wife in a car accident.  Rajjan Madhav’s debut work keeps you engaged till the end.
Plus Points: Cheran and Prasanna walk away with the honours. Prasanna excels in his role as a real prick. Cheran impresses with his subtle performance. Playing his love interest is Haripriya who does a neat job. Music by Sajjan Madhav is good.
Minus points: A tad too long, the film could have done with some editing.
Camerawork: Padmesh’s camera is cool.
Verdict: Watch this psychological thriller for Prasanna, who  matches Cheran  step by step creating the perfect tango. 

Ra Ra

‘Ra Ra’ with all ingredients of a typical Kollywood masala fails to tickle your palate

Here is a recipe for a Kollywood masala.
First, open the film with lungi clad long haired goons walking in quick purposeful strides brandishing, yes you got that right, an aruvaal.
Next, introduce the hero attired in bright costumes with a group song. Dress up the extras, (I am obviously referring to the women),  in short outfits, better actually in those school pinafores with rising hemlines and let them shake their hips to a cacophonous number.
Third, a must ingredient, is a comedian. He is usually the hero’s best friend and ally in distress and gets to deliver those inane dialogues. Make them as crass as possible if you want to elicit roars of laughter from viewers.
Four, stir in a good dose of songs, one when the hero and heroine accidentally meet and lock eyes, another when they take off to fantasy land, a third when they are separated, a fourth sees them rejoicing together with family holding hands. Is there any dearth of situations?
Five, tip in the spice container a bit as you mix in suspense and drama with a little secret tucked away and just waiting to tumble down towards the end. Your brew is ready.
Well, Ra Ra,’ refers to Royapettah Royapuram and  has all these ingredients in good  measure, tweaked anew with references to Thirukural. In the acting department, Udhaya needs to work hard. Shwetha Basu makes a pretty arm candy. Ponvannan stands out among the cast. A good actor like Aadithya has been wasted. 


Verdict: With unbelievable and illogical situations, (for instance the idea of tying up the old Iyer couple), this film takes the audience’s intelligence and time for granted.