Kayal’ a compelling tale that makes you want to fall in love again

It’s a pain we can all identify with: the pain of being in love and missing your beloved.
For Kayal, a teenager working as a housemaid in a zamindar’s house, love is a new experience, something unanticipated in her life.  So when Cupid strikes his arrow, coming at a most improbable time and under implausible circumstances, Kayal is bewildered. 
She listens in disbelief when a stranger, Aaron openly professes his love for her in the presence of many.  She tries to understand the strange new feeling clasping her heart. But after a point, Kayal breaking down into tears, runs indoors calling out to her mother.

Her mother is a mere photograph on the wall that the orphan girl holds close to her bosom while her grandmother calms her down. The old lady does nothing you would expect another grandma to do. She urges Kayal to leave home and seek out her beloved.
The innocent Kayal looks up and asks, “Where? How?
After all, she had only met Aaron for the first time, the night before, when at  the insistence of her employer, she questioned him to find out the whereabouts of her employer’s daughter, who had eloped on the eve of her marriage.
And, in the stillness of the dark night, Aaron listening to her talk is completely besotted by her beautiful eyes that light up in the glow of a lantern. Aaron knew, like he had always believed, that love had caught him napping. 
When the family members douse him up in kerosene and ask Kayal to strike a match stick on him, Aaron is unmoved as he says, “It does not matter, for I have left my heart behind with her.”
Director Solomon builds up this love story gradually, introducing us first to Aaron and Socrates, two insignificant young men who feed their wanderlust by taking up temporary work. “Like the wind” as Aaron puts it, they have seen the snow- capped ranges of Ladakh, posed before the Taj Mahal, trekked through the rain forests of Meghalaya, rolled on the sand dunes of Rajasthan and now were bound towards Kanyakumari, the only place left to cover.
Enroute they unwittingly help a pair of lovers to elope which lands them into trouble. 
Solomon while scripting the story has carved his characters with immense love. It’s not just the lead players even the fringe actors have a definite identity, be it Socrates, (new comer Vincent) or the bride’s father and her uncle (Tamil journalist Yogi Devaraj).

Infusing good humour he keeps viewers chuckling and even makes you ponder over Aaron’s philosophy on life- that life’s journey is not merely chugging on all the time but stopping now and then for a relaxing break.
Amidst a high tension drama at the zamindar’s home with the bride disappearance, Solomon tickles your funny bone too.
Hilarious moments abound with an old woman’s speechlessness and a batty senior citizen who struts around in his new attire. More funny moments lie in store during the second half of the story when a group of college girls decide to help Kayal in her search for her beloved.
Yes, there is talk of violence and inter-caste marriage and there is anger, but it is not brutal nor heard in expletives.
With new actors playing the lead roles, Solomon’s story is believable. Chandran as Aaron rocks as he goes through a gamut of emotions. Anandhi with her innocent looks is every inch vulnerable. And as you follow her to Kanyakumari, your heart beats fast with one question: When will she unite with Aaron?
But then a tsunami strikes Kanyakumari!
So will ‘Kayal,’ go the ‘Mynaa’ and Kumki’ way, Solomon’s earlier two films?
Go watch ‘Kayal.’ And look forward for a visual extravaganza as cameraman Vetrivel Mahendran reveals Nature in her finery and while at it, do savour Imman’s melodious compositions. 

‘Iyobinte Pusthakam’ is sheer poetry in every frame

When  an acclaimed cinematographer like Amal Neerad directs a film, you can expect a visual treat. ‘Iyobinte Pusthakam,’ is Neerad’s eleventh film.
The story opens with Punnose, a communist comrade who has penned a book, ‘Iyobinte Pusthakam.’ Punnose is living in the seventies when the emergency period was declared in India. While he waits for the arrival of the police to arrest him, Punnose narrates this story from his life.
‘Iyobinte Pusthakam,’ a saga of Iyob and his three sons belongs to the pre-independence era of India and is set in Munnar tea estates. When we first meet Iyob, he is a young lad working in the tea estates of Harrison, an Englishman. Harrison rescues Iyob from being thrashed by his  supervisor and soon takes him under his wings.
In some time, Harrison’s wife fed up with the Indian life returns to UK. Harrison takes in Kazhali, a Toda tribal woman (considered a sorceress and feared by the natives) as his mistress. Kazhali’s good fortune ends with Harrison’s death.
Now, Iyob assumes charge over Harrison’s house and estate.  And wastes no time in throwing out Kazhali, who is pregnant with Harrison’s baby. From a docile servant, he changes to become an arrogant and dominating master in the estate and is most feared and despised. 
But his wife, Annamma is unhappy with Iyob’s attitude towards  Kazhali and extends friendship to her. Annamma contracts malaria and dies, leaving Iyob to bring up their three sons alone.
Dmitri and Ivan, the elder two sons are a chip of the old block, but .  Aloshy, their younger brother takes after Annamma and is soft hearted. After witnessing his older brothers kill their servant girl, a terrified Aloshy runs away from home. He joins the British Navy.
The film picks up steam when Aloshy is forced to return home after being indicted in a naval mutiny against the British Queen. He is shocked to find that his father and two brothers have not changed at all. They remained the domineering masters and harassed the commoners.
While Dmitri, indulged in sexual exploitation, not sparing any woman,  the egoistic Ivan was power hungry. Trouble brews when Aloshy reaches out to the poor and oppressed and with his two brothers baying for his blood following an argument, Aloshy leaves home again.
From the word go, each frame is sheer poetry not just in the realm of photography but in its screenplay as well, transporting viewers on an overwhelming journey back in time.
Co-writers Gopan Chidambaram and Syam Pushkaran grab the attention of viewers with their taut screenplay. The characters are solid, busting stereotypes, each distinct from the other as they emerge on this vast canvas. Amal Neerad’s unique presentation lies in its silent eloquence where a lot is conveyed with few spoken words. Not letting down the writers and director is the flawless performance of the cast. It’s a powerhouse performance without any self-indulgent give away from veteran actor Lal Sr. As Iyob, he is terrific.
Fahad Faasil, who surprises you with every new film is brilliant as the quiet yet determined Aloshy. Barely smiling, Aloshy speaks only through his eyes mostly. Fahad has co-produced the film with Amal Neerad.
Whoever thought that Chemban Vinod Jose last seen in ‘Saptamashree Tashkarha’ as Martin, a petty thief, could transform himself into Dmitri, the sadistic and impotent husband of Rahael? Jinu Joseph as Ivan is commendable on debut. Vinayakan as Chemban is another versatile actor. Watch out for Jayasurya, as a Tamilian businessman, Ankur Rawther, who devious ways are camouflaged behind his omnipresent smile and the steely glint in his eyes.
Among the actresses, Padmapriya is outstanding. As Rahael, Dimitri’s wife, she plays a seductress to the hilt, who switches loyalties to suit herself. Lena as Kazhali brings to the fore a tribal woman, who has been wronged.  Somehow Isha Sharvani as her daughter Martha, flits in and out of frames as a pretty picture. Even when in love with Aloshy, her expressions don’t come through. On the other hand, Cheeru, Chemban’s wife justifies the strong woman she personified.
But the most incongruent scene in this period tale was Amala Paul’s dance, thrust suddenly into the sequence of events.
Mind you, in this story of man eat man, there is a lot of gore and gruesome violence. Yet, this one is not to be missed if you love good cinema.

Kaaviya Thalaivan’ brings in a whiff of fresh air

What was life on stage, in the pre-independent era in India, particularly in Tamil Nadu, when the big screen was unheard of?
When entertainment meant squatting on the ground and watching  characters come alive on a stage in front; where men played female characters; where costumes and make-up was loud and actors raised their decibels so as to reach the man at the rear row; where music was  sweet melody, devoid of the trappings of digital age and loud instruments; where re- recording and retakes were never heard of.
Tamil director, Vasantabalan who is remembered for his ‘Veyil,’ (a national award winner that was screened at Cannes Film Festival in 2007) and ‘Angadi Theru,’ (another critically acclaimed film) takes viewers on an enchanting journey with his new film, ‘Kaaviya Thalaivan.’
This period drama is pivoted around a travelling drama group, managed by Sivadas Swamigal (Nasser). And in his group the lead players are Kaliappa Bhagavathar (Siddharth) and Gomathi (Prithviraj), who often perform together on stage as pairs and as the antagonist and protagonist. Kali and Gomathi having grown up under Swamigal’s care since childhood share a close bond, akin to siblings. While Kali is the playful yet earnest actor, Gomathi is a dedicated young man who strictly follows the dos and don’t’s of his guru, striving hard for his guru’s appreciation.  But Swamigal seems to have a soft corner for Kali and that gradually makes Gomathi jealous of Kali.  Fitting well into Gomathi’s skin is none other but the Malayalam star, Prithviraj known for his versatility. As emotions inside Gomathi shift between pride and jealousy, Prithviraj portrays it with a finesse, speaking a lot mostly through his eyes and before he realizes it, the green eyed monster has consumed him taking him on the road to doom. Playing the perfect tango to Gomathi’s character, Siddharth as Kali, allows himself to be submerged in his character. And what a performance he delivers! While ‘Kaaviya Thalaivan’ rides on the shoulders of Prithviraj and Siddharth,  the supporting blocks deserve equal applause. Veteran actor Nasser lives up to his reputation. Thambi Ramiah, Ponvannan and Singam Puli slipped into their characters with ease. Director Vasantabalan’s casting of Vedhika as Vadivambal, the only female actor in Swamigal’s group and Anaika Soti as Princess Rangamma in love with Kali is perfect.
Vadivambal’s character has been inspired by the legendary singer-actor K.B. Sundarambal. And Vedhika, who impressed with her performance in Bala’s ‘Paradesi,’ proves once again that in the hands of a good director, she is putty. Anaika is cute as Rangamma and a talent to watch out for.
Complementing the beautiful story is Rahman’s music. Nirav Shah’s camera work is just awesome.
Vasantabalan’s daring attempt to narrate a period drama is refreshing   and a pleasant change from the routine fare doled  out in Tamil cinema. Screenplay and dialogues transport you to another era and travelling with the drama group, viewers go through a gamut of emotions.
Indeed a class act.