Rakshadhikari Baiju Oppu: A feel good entertainer  

By Mythily Ramachandran

Biju Menon is back and once again he bowls you over with his charm and versatility

Menon carries ‘Rakshadhikari Baiju Oppu,’ on his shoulders, a simple tale set in a nondescript village and like his character Baiju, Menon endears himself to the audience.  This is Ranjan Pramod, noted Malayalam screen-writer’s third directorial venture.

The village of Kumbalam could be any village of Kerala that is untouched by today’s growth. Baiju (Biju Menon) who grew here lives with his family. And, his main distraction is Kumbalam Arts Club that he founded in his young days. Much water has flown under the bridge since then, yet this father of one and a government employee in his early forties is often found hanging in the company  of its club members that includes school kids, teenagers and young men. The Kumbalam Brothers and their passion for cricket is enough to draw Baiju out onto the vacant land of the village, a space shared by the young and the old.
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While the story is pivoted around Baiju, Pramod has woven little stories into his screenplay. Baiju is that uncle you would run to when your father refuses to get you a cricket set and dismisses your love for the game. Baiju is also the neighbour, whom a father approaches when going through a personal tragedy and wants him  to talk to his grieving son. Baiju, howeveris not portrayed as a larger than life figure. He is an ordinary guy who prefers life’s slow lanes unlike his friend,  George (Dileesh Pothan) who has emigrated to the USA and realizes what he is missing during a visit to the village. Baiju is the rakshadhikari, the patron or mentor you could rely on.
Besides, the story is not about cricket only, there is love too and many moments to smile at. The humour is understated and situational. Pramod’s story free from loud drama and action beautifully captures the uncomplicated life of this small community where time stands still and the residents savour life’s little joys.

Menon is terrific and a natural. Complementing him are the supporting team members. Despite the three hours duration it seldom sags; its host of characters keep the wheels going.

Hannah Reji Koshy plays his wife Ajitha, an ordinary woman who yearns for her husband’s attention. When she feels ignored, she does not turn into a nagging shrew but a cute sulking child. Aju Verghese is Unni, Baiju’s friend determined to marry a fair-skinned woman but is pursued by Sreekala, a dark complexioned young woman. A love story brews on the side-lines of matches as team member Manoj runs into the garden of Rose, where the cricket ball often lands into. Wonderful is veteran actor Janardhan’s role as an annoying old man from the neighbourhood who becomes a party pooper when the children come out to play on the vacant space.

Without shouting himself hoarse, Pramod slips in a social message as curtains come down. ‘Rakshadhikari Baiju’ is a refreshing film with its characters leaving behind a nice feeling. You may relate to some or maybe reminded of someone if you have had your roots in those small villages of Kerala.

Georgettan Pooram: Lacks magic

Story about an important kabaddi match is let down by weak writing

By Mythily Ramachandran

Matthayi Parambu, a vacant ground in Thrissur, carries an interesting history in the film Georgettan Pooram. This land was given to national kabaddi player Mathayi by the government in recognition of his achievement in the sport. Mathai in turn donated it to his village as a public playground to encourage kabaddi. However, kabaddi never found any place there, or for that matter any other sport either.

Over time, Mathayi Parambu became a space for everyone to meet and watch time go by. In particularly, it was the favourite haunt of George (Dileep) and his friends, Vava (Vinay Forrt), Pallan (Sharfudheen) and Chullan (Thiru Actlab). It was their second home actually, where these four idle men spent time mostly with alcohol for company.

Trouble brews when Peter, Mathayi’s son (Chemban Vinod Jose) takes claim over his father’s piece of land. He has a plan for this space. Obviously that plan conflicts with the welfare of the villagers, That prompts George to wake up from his idle life. It now becomes his life’s purpose to protect Mathayi Parambu so that it can remain with the villagers.

Deciding the destiny of Mathayi Parambu is a kabaddi match to be played by the villagers led by George against a team of veteran players.

Directed by K. Biju, George Ettans Pooram is a typical Dileep film with comedy and a couple of obscene jokes. The story had potential to become a good sports drama but the weak writing takes it downhill.

C/O Saira Banu: Celebrating motherhood

By Mythily Ramachandran

A beautifully made family drama with personal  struggles lending an interesting twist

Malayalam film C/O Saira Banu lauds maternal love as it dwells on two mothers who will go to any length for the sake of their sons.

With a cast tailor made for each character and marked with effortless performances, this debut venture of scriptwriter R.J. Shaan and director Antony Sony impresses with its poignant moments.

Single mother Saira Banu’s (Manju Warrier) life revolves around her son Joshua (Shane Nigam), an aspiring photographer. So when his life and dreams are threatened, Banu is not going to watch mutely or wallow in self-pity. This small town post-woman who has not studied beyond high school takes up his case even if it means standing up against Annie John Tharavadi’s (Amala) stature, the infallible lawyer with a reputation for winning her cases.

Annie, a single mother with a school-going son, gives in to the boy’s whims leading to an unfortunate incident. How far will the two mothers go to protect their sons?

Without becoming a melancholy drama, C/O Saira Banu is a tale of tiny joys of life interspersed with humour and love.

If Warrier’s How Old Are You? brought her back with emphasis, C/O Saira Banu is a David-versus-Goliath tale that shows there’s a lot more to be drawn from actresses.

Warrier walks with ease as Banu, be it in attitude and in the endearing moments she savours as Joshua’s mother.

It was a well-conceived scene where Banu, with eyes bristling with eye drops, is asked by Joshua to open them as he has a surprise to show her — his scholarship letter from National Geographic.

Amala’s fans are in for a treat. The Ente Suryaputhiri actress returns in a role marked with a brilliant performance. Her Annie John is mature and debonair. Known for her adherence to truth and justice, Annie finds herself seeking cover under her lawyer’s cloak in a bid to save her son.

Amala’s little nuances of expression make moments from Annie’s life so convincing — Annie’s fear and insecurity as she watches Banu interacting with her son and later in court when facing Banu. Bringing layers to her character, she reveals the shade of gray in all of us that sometimes raises its head.

Complementing Warrier’s performance is Shane Nigam. As Joshua, the law student searching for his identity as Peter George’s son, Nigam’s acting is in the right measure; not even once does he go overboard.

Shan’s powerful writing breathes life into his characters. The screenplay is commendable; it does not slacken nor is it interrupted with inane comedy and songs.

The film opens into the kitchen of a lower middle-class home to reveal a pan of milk simmering over a stove that will boil over any moment, while a pressure cooker on the adjacent burner raises alarm with its whistles.

We are left to our imagination as we hear voices in conversation, a mother waking up her son as she goes about with the morning chores, in between hailing the fish vendor outside through the window.

I liked the way Banu’s single motherhood is woven into the story. Without glorifying Banu’s sacrifices, her relationship with Joshua’s father is revealed in a beautiful episode termed as the Hand of God.

Shaan’s writing celebrates the contemporary woman, independent and clear in matters of love. When Banu meets Arundhati (Niranjana Anoop), Joshua’s college mate presuming that they are in love, Arundhati clearly tells her that she was Joshua’s friend and nothing more. Anoop in the short space she occupies leaves her mark. Kanchana who won this year’s state award winner plays a small role, that of an Iyer woman who eats bread and omelette on the sly. Director Sony has drawn out a terrific performance from his team.

The film while informing the layman of a few basic rights in the Indian law, it raises questions on the identity of the many migrant workers today in Kerala.
Who are they? What is their security? What is the value attached to their lives?

It is a touching ode to motherhood when Banu arrives in Malda (West Bengal) carrying Ram Kishan’s (a migrant worker) letter to be delivered to his mother. As she inquires about the address, someone shouts “That is Janaki’s son” reminding us of a mother waiting for her son’s homecoming.

C/O Saira Banu is a beautifully made family drama with personal struggles lending an interesting twist.