Ottamuri Velicham- (Light in the Room)

Directed by Rahul Riji Nair, this Kerala state award winning film is centred around marital rape

Light carries a positive connotation, but the light glowing in Sudha’s bedroom is an intrusion and an intrinsic part of her dark story in ‘Ottamuri Velicham.’

Chandran (Deepak Parambol) brings his new wife Sudha (Vineeta Koshy) to his home, a small dwelling on the mountains of Bonakkadu (near Trivandrum, Kerala). Separating the bedroom and the room outside is a flimsy curtain hanging over the doorway and Sudha notices that the window in her bedroom cannot be closed. She also can’t switch off the glowing light above, a crude structure made of bottles. When she tells Chandran about fixing a switch to it, he harshly retorts that she keep her hands off his lamp.

If Sudha could resist Chandran’s advances on the first night, few days later, she realizes that she has married a ruthless man, who does not care for her feelings at all. Chandran coerces her into sex, not just by forcing himself on her but through physical violence.  

Yet, Sudha makes efforts to understand Chandran. She wakes up early to make him coffee before he leaves for his work. Another day she carries lunch to his work-place only to be rudely admonished for venturing out on her own. Chandran has no qualms about disrespecting her in front of his boss- the man who believes in Chandran’s creative inventions-the glowing bulb in the bedroom is one of them.

It’s a regular ritual as Sudha waits in dread every night for Chandran- her screams of pain heard silently by her mother-in-law and brother-in-law sleeping outside the room. Sudha is trapped in a relationship from which there seems no escape. The only balm is the care of her mother-in-law, (Pauly Valsan) who nurses her in the morning after the brutality of the night.



Nair’s narration is sensitive. Under the glare of the glowing lamp he reveals the marital rape conveyed through Sudha’s screams and not by resorting to unpleasant graphic visuals. The focus is on Sudha’s agony and abuse by a sadistic husband.

Both the lead actors, Koshy and Parambol are in great form as they bring alive their characters. Parambol’s Chandran is completely detestable with his psychotic behaviour and you wish him dead just like Sudha. Every night, when Chandran returns home, you dread the minutes that will follow, almost feeling Sudha’s pain, such is the intensity of Koshy’s performance. There is no loud melodrama. Sudha speaks little and her agony is conveyed well through Koshy’s expressions. Koshy received the Kerala state award for Best Actress.

What really made Chandran this way? You wonder. He is an  intelligent man with a knack of working with electrical appliances and devising  ingenious practical inventions by recycling stuff. A wild boar that visits their garden every night to ravage on the tapioca plants becomes a metaphor for Chandran’s behavior. Sudha and her mother-in-law lay a trap for the animal. 

His mother excuses his behavior when she tells Sudha that she too suffered a similar fate under her husband and Chandran has grown up seeing that. She even tells Sudha that her son is actually good at heart, unlike his younger brother. Male domination is an accepted thing for her when she reminds her daughter-in-law that she is a woman. But unlike the regular mothers in law, she empathises with Sudha and tries to alleviate her pain.   

Cinematographer Luke Jose’s frames are spectacular. The environment around shows Nature at her pristine beauty yet carries an intimidating feel through out when seen through Sudha’s eyes. As she gazes out of the open window in the stillness of the night it brings in an eerie feel; the uncertainty in the wilderness as Sudha tries to escape from home, scrambling down the mountain side lined with thorny bushes and wading through gushing streams-the camera follows her sending a shiver down the spine.

Director Nair scores with his telling-a gradual flow of events. From the terrified young bride who has no control over her life to emerge strong and bold, hardened by pain and sorrow, yet cannot be cowed down by any man. And when she finally does fix a switch to the lamp, you tip your hat to her.

‘Ottamuri Velicham’ won four Kerala state awards-Best Film, Best Editing, Best Actress and Best Second Supporting Actress (Pauly Valsan). 

Without star power this is a tale that speaks from the heart.

‘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.

‘Joseph’ a medical thriller that leaves you stunned

By Mythily Ramachandran

Director M. Padmakumar reveals a different facet of actor Joju 

George in this family drama

 

Joju George in the titular role is unforgettable. The actor-producer who has until now played comic roles and characters with negative shades proves that a good story does not need a star or a larger than life character to hold it up. With his understated performance, George is terrific.

Joseph (Joju George) may have retired from the police service yet is often called back for consultation by his seniors to crack a difficult case. As soon as the film begins, we learn about his Sherlock Holmes observation skills. Joseph despite downing a few drinks is alert as he surveys the scene of crime-a double murder in this case of an elderly couple-and solves the case in a surprisingly short time and without much fuss.

But his personal life is a tragedy. Joseph’s life is empty just like his home. His wife Stella and their only child, Diana are no longer with him. Written by Shahi Kabir and directed by M. Padmakumar, the story shifts between the past and the present.

Joseph’s tragedy is compounded further by the accidental death of a close one. Joseph discerning eye pushes him onto another investigative journey that brings to opens up a medical scam.

‘Joseph’ is a well written narrative with a screenplay that keeps you engrossed. It’s neatly sketched ordinary characters brought onscreen with natural performances by the actors leave you feeling sad when curtains come down. 

George dominates the story with his understated acting. This policeman is a far cry from the cruel policeman of ‘Nyan Mary Kutty’ or the friendly cop of ‘Poomaram.’ His two portrayal of Joseph is laudable-the young Joseph in love and the man drowned in sorrow are poles apart. George as the retired officer who finds refuge in the bottle carries a lazy swagger and a disinterested gaze in his eyes.

Another surprise is actor-director Dileesh Pothan. He is Peter, whom Stella marries after leaving Joseph. Pothan who was last seen in ‘Drama,’ as the loud talking funeral agent Dixon takes on a character who barely speaks.  The relationship shared by George and Peter is awkard-the two men love Stella- yet they show a maturity and understanding that is so beautiful. You don’t see this kind of acceptance either in life or on  screen. Kabir scores with his writing. 

The supporting actors playing Joseph’s friends deserve mention. So too the actresses- Athmiya, Madhuri Braganza and Malavika Mohan- playing the women in Joseph’s lives. They all prop up the story well.  

Another big strength is the  spectacular camera work by Manesh Madhavan. Right from the go, his frames are stunning. When we are introduced to Joseph, he is lying drunk in his chair caught between the streaming rays of the morning sun. A hungry cat mews persistently in the background but is not visible, you are left to your imagination. I loved that visual. Madhavan’s camera is intrinsic to the story, very much alive and following the characters totally. 

‘Joseph’ while bringing to light a medical scam leaves you feeling quite sad.
 

Tamil film ‘96’ a love story that blows in like a fresh whiff of air

By Mythily Ramachandran

Cinematographer turned director Prem Kumar wins hearts with this pristine love tale that leaves a lump in your throat

Like all school reunions this one takes a 1996 year batch of students on a nostalgic road.
Ram (Vijay Sethupathi) and Jaanu (Trisha), who were in love at school- but lost track of each other due to certain circumstances- are meeting after twenty-two long years.
Will it rekindle the old flames, wonder their close friends?

Much water has flown under the bridge since Ram and Jaanu last met in school as teenagers. Ram is now a professional photographer. Jaanu lives in Singapore with her husband and daughter. 

After the reunion is over and the good-byes have been done with, Ram and Jaanu find some time alone. It’s just a couple of hours together before Jaanu boards her flight to Singapore.

Cinematographer turned director, Prem Kumar builds within those few hours a beautiful and emotional tale that speaks from the heart and untainted by this era of instant gratification. 

With ’96’ Kumar finds a firm footing as a director of immense promise.

Teenage years and school crushes walk hand in hand. ‘96’ belongs to that era when whatsapp was unknown. Ram  and Jaanu spoke with their eyes. The three magical words were never uttered aloud. In fact Ram is the shy guy. What makes this relationship unique is that it never dies.

So even after two decades when Ram and Jaanu meet at the school reunion, their love and respect for each other has not changed.

Unlike most romantic tales, ‘96’ does not ride piggy back on silly duets, and contrived romantic encounters. Although it takes a while to warm up in the first half, there is a spontaneous flow in the narration. Its love in all its purity-lust never mentioned. 

Director Kumar’s writing is free of malice towards life and about acceptance-as the two protagonists show. Vijay Sethupathi and Trisha both consummate actors share a beautiful onscreen chemistry. They are terrific. 

If Sethupathi’s effortless performance as Rasool in ‘Chekka Chivantha Vaanam’ had us hooting for him, his Ram- the man who loves tenderly and with no expectations- is every woman’s dream guy.  Trisha makes her Jaanu endearing-laudable is her mature acting.   

Actors Aaditya Bhaskar as young Ram and Gouri G Kishan as young Jaanu cannot be easily forgotten. It’s an impressive debut. Devadarshini and Bhagavathy Perumal as close friends of Ram and Jaanu keep us chuckling. 

After watching gory thrillers or hard to laugh at comedies, and marble like romantic stories, Prem Kumar’s ‘96’ is a classic love story that will be fondly remembered. It’s neat. There are no lines and jokes that will leave you squirming in your seat. 

Varathan is a good watch.

An intriguing thriller that follows you even after curtains fall

By Mythily Ramachandran

Malayalam director Amal Neerad holds a mirror to a society ridden by male chauvinism and voyeurism in ‘Varathan.’
Backed by excellent performances, stunning visuals and music complementing the narrative, ‘Varathan’ becomes an intriguing thriller that stalk you home.

The story opens in Dubai. Abin and Priya, a young married couple very much in love go through a disappointment phase-with two unfortunate happenings- in their lives.

When Priya suggests that they return to Kerala, Abin agrees. So they arrive at her father’s ancestral property amidst the hills of Idukki. 

Their joy and solitude is soon threatened and Priya realizes that her childhood home of happy memories is unsafe for her as a woman.
In fact you get an inkling of the attitude of the local villagers the moment they enter the small town and stop at a roadside store for tea. The discomfiting stares of the men sitting outside, is something any woman will connect to. Priya points out to Abin the old man among them known for his roving eye.

The fear of being watched creeps into Priya’s mind-when in the midst of her baking she turns around to face a stranger peering through the window; the shadow of a man looking into their bedroom door; that notion of being observed Priya’s feels while undressing in her bathroom. 

Neerad gradually builds it along with cinematographer Little Swayamp-the camera close at heels of Priya and taking in her activities like the stalkers outside. Adding to it is Sushin Shyam’s background music ushering in the traumatic feeling and giving a shiver to your body.

Women have that inborn instinct to understand when the glances and gazes are just not right and like Priya they often find it hard to convince others around of the threat. 

Priya is irritated with Abin for being naïve about the intentions of Josy (Sharafudden)-a school mate who had a crush for her. Josy still lusts for her. Giving him company are his two friends and from the field that Priya’s family has let out to them-a convenient vantage point-they intrude into her life. What seemed like a worm crawling on the skin grows into a monster to unstable Priya’s and Abin’s lives.   

And, when Priya packs bags telling Abin that she does not feel safe in under him, Abin’s manliness is questioned. She remembers her father who provided the safety umbrella for his family. Abin breaking down in the courtyard, that was a brilliant performance from Fahd Faasil, one of the many the versatile actor delivers. 

Turning cinematic and giving Abin an opportunity to be the man Priya wanted, ‘Varathan’ soon becomes the story of the hero. Fahad Faasil fans are in for a treat. Abin’s lone battle with a group of men with guns and knives is well choreographed as he intelligently strikes at them using resources at hand. 

The film’s strong points lie in the onscreen chemistry between Fahad and Aishwarya Lekshmi-Lekshmi holding her own pretty well opposite Faasil. Writers Suhas and Sharfu’s characters are so real-as a woman you see their likes around.  Abin’s character graph-how he evolves from a suave Corporate worker in love with his wife to resort to violence when his woman is threatened. Abin who would not even hurt a cockroach does not hesitate to squash a cockroach in the last scene.

It’s a jaw dropping role from actor  Sharafuddeen. He is terrific and not the Sharafudeen of ‘Premam’ ‘Pretham’ and ‘Aadhi.’

Priya’s traumatic scene has been shot neatly-without exaggerating, we learn of her mishap through scenes that follow. Lekshmi brings out Priya’s anguish and anger perfectly. 

‘Varathan’ lays bare the hypocrisy of men. Some claim to be moral police on one hand and worry about our so called culture losing way to modern clothes and behavior, it’s these very men who are a threat to women. But when it concerns their own sisters and daughters, they can be monsters.
‘Varathan’ is a good watch.

Ranam: a stylishly made gangster flick

Scenarist turned director Nirmal Sahadev makes an impressive debut with this noir film set in Detroit

‘Ranam’ wastes no time. Aadhi (Prithiviraj) lying wounded with a gun- shot on his chest opens the story.  A voice narration soon takes us into the city of Detroit where he lives.  Detroit which had a glorious past as the automotive capital has now turned into a most dangerous city where crime and drugs go hand in hand.

Aadhi, an automobile mechanic works in his uncle, Bhaskar’s (Nandu) garage. He has also been transporting drugs for Damodar (Rahman)- a Sri Lankan Tamilian- in order to clear his uncle’s debts.  Damodar has a new party drug- Redex- and he wants to get a foothold in the region that is controlled by a rival Polish gang leader. 

Aadhi wishes to quit working under Damodar and lead a normal life. So he makes a deal with Damodar that he would work one last time only.  Will Damodar let go of Aadhi  so easily, especially since he is a reliable and efficient transporter? Damodar asks his younger brother, Selvam (Ashwin Kumar) to find out- What’s the weak link in Aadhi’s life that will make him return to his gang?

Director Nirmal Sahadev

Scenarist Nirmal Sahadev who wrote the story for ‘Hey Jude’ a romantic entertainer turns director with ‘Ranam’ and explores a completely different genre.

Noir protagonists are often single men, psychologically flawed or wounded. This gangster tale is not an action thriller about Aadhi and Damodar only but an emotional tale of Seema, (Isha Talwar) too.  A dancer and a mother to a teenaged daughter, Seema suffers a loveless marriage.

  ‘Ranam’ is about second chances for its characters-be it Damodar ousted from his home in Sri Lanka; Aadhi keen on living life anew; Bhaskar-disillusioned with the American dream longs for a new life for his  family; Seema who wishes to bury her past and move on.

After, ‘Mumbai Police’ Prithviraj and Rahman come together in lead roles. They play the perfect tango, matching step by step with a terrific performance. Rahman is in fine form. His Damodar  is menacing in a quiet way-calm and does not deliver loud dialogues- but his short lines mean business. 

Prithviraj’s  Aadhi wins sympathy. Beneath the tough exterior, there lies a little boy struggling with the demons of childhood. Wearing a countenance that barely smiles but embodies several underlying emotions, Prithviraj is wonderful.   

 UAE resident Ashwin Kumar who shot to fame with ‘Jacobinte Swargarajyam’ once again impresses-his Selvam is a hot headed young man.

It’s a mature role for Isha Talwar. Her Seema is convincing.   Newcomers Celine Joseph as Seema’s daughter a typical NRI teenager, Mathew Arun playing Bhaskar’s son and Giju John as Inspector Ahmed are other notable actors. Don’t miss director Shyamaprasad in a cameo.
Jakes Bejoy strikes the right chords with his music. Loved the song, ‘Pathey.’  

‘Ranam’ narrative is emphasized by stylistic, stark shadows and frames that lend a sense of claustrophobia. DOP Jigme Tenzing’s camera plays along leaving you spell bound. Notice the aerial shot after Aadhi gives the cops a slip while driving away in a car. A junction of Detroit is bathed in neon lights where three white police patrol cars stand against a backdrop of neatly arranged black cars. That frame is not easily forgotten.
 ‘Ranam’ marks Sahadev as a talent to watch.  

Prithviraj and Nazriya are great company in ‘Koode’

By Mythily Ramachandran

Director Anjali Menon’s emotionally stirring family drama carries her signature- bold and beautiful

Family bonds are an intrinsic part of Anjali Menon’s films.
In ‘Koode’-an adaptation of Sachin Khundalkar’s Marathi film ‘Happy Journey’-Menon explores a less feted relationship in films-the sibling bond of a brother Joshua and his little sister, Jenny. 

Joshua-working in Dubai- arrives at his hometown in Ooty, for his sister Jenny’s funeral. We soon meet his family-father Aloshy, (director Renjith) a car mechanic and mother, (theatre artiste Maala Parvathy) a homemaker. Walking into Jenny’s roomwith Joshua we get to know Jenny through her creative work and drawings. Not to forget her companion, Brownie, the pet dog.And, it doesn’t take long to sense the aloofness of Joshua towards his parents. As we flit between the past and the present we understand the reason for his anger and a deep lodged pain. Joshua is a caring son and his resentment does not manifest aloud in actions or war of words, but sometimes he cannot help himself with his sarcastic jibes.

Having been compelled to leave home at fifteen to support the family with a job in Dubai, Joshua has missed out on several things-one of which is spending time with Jenny. Post her demise he gets an opportunity to know her better and unknown to the others around, the two bond over many things, while he discovers his real self and his love for Sophie, a crush from school days.

Menon’s writing is splendid-her characters are marked with a fervour. The casting has been perfect. Prithviraj and Nazriya share a great chemistry as Joshua and Jenny. Joshua- the little boy with a love for football and train models -and who adored his sister transforms into a man who bottles up all his feelings for the sake of the family. Zubin Nazeel Navas as young Joshua is brilliant on debut. Nazriya is back with a vengeance and her vivacity onscreen reminds you of her role from ‘Om Shanti Oshana.’ Prithviraj handles a wide spectrum of emotions with ease-Prithviraj is at his best in the scene when Joshua realises that Jenny is gone forever- that’s when the tragedy of losing her sinks in. 

Menon’s story is devoid of melodrama, yet the pain and sorrow is palpable. Her writing is powerful- her narration engaging. The characters are real and vulnerable. Apart from Jenny,they don’t waste words-still they leave a strong impact. Director Renjith is a wonderful surprise. His Aloshy wins everyone’s heart. With a mere glance here or a nod in another, Renjith’s act is a master class in performance. Maala Parvathy impresses as Joshua’s mother. Parvathy and Prithviraj play love birds once again.  Sophie-a victim of marital abuse finds her freedom through love again. Once again Parvathy reiterates the wonderful performer she is. Atul Kulkarni plays Joshua’s football coach, a sport Joshua enjoyed and rediscovers it later.

The narration is speckled with warm moments-young Joshua picking up a fallen nest and restoring it to its place. Jenny in all the family photos carries a framed picture of Joshua -a cute expression of her love for her brother.
There are moments that stay with you-when the adult Joshua finds his father working on his train model from childhood days, a long festering bruise gets its balm -the silence in their stares speaks out their hearts emotions. 

There is good humour too, especially with Jenny and her ways. My favourite is the condolence meeting in Jenny’s school where a boy in her memory decides to sing to the audience-‘Daddy Mummy vettililla’ -an inappropriate number.

Cinematographer Lil Swamp’s frames hover over the quaint town of Ooty- visually stunning. Celebrating the family and homecoming, Menon once again captures hearts with this endearing drama that talks about finding again life’s joys and living life in the now.

‘60 Vayadhu Maaniram’ story tugs at the heart strings

By Mythily Ramachandran

Director Radhamohan’s remake of Kannada film, ‘Godhi Banna Sadharana Mykattu,’ is a poignant tale about Alzheimer’s patients told through an entertaining story.

Prakash Raj plays Govindarajan- a retired Mathematics Professor suffering from Alzheimer’s, who goes missing from the nursing home he is staying. His son, Shiva (Vikram Prabhu), a soft-ware professional goes in search of his father. Does he find him? 

Without being preachy, the narrative looks into the lives of Alzheimer patients. A grim reality is presented through different patients’ condition  at the nursing centre. Govindarajan’s early symptoms show when he forgets to pay the auto-driver, who is kept waiting outside for quite some time. But when he is unable to recall the word ‘watch’ and points to his wrist instead, Shiva consults a doctor with his father.

Pointing fingers at the hurried pace of life today that makes us irritable and leaves us with no time for family, Radhamohan takes Shiva on a quest for his father. Along this journey Shiva also discovers himself. 

There is a sub-plot over a murder running parallel to the main story. Samuthrakani is a gangster entrusted with this killing, but something goes wrong en-route and he is forced to hide.

Radhamohan’s trademark humour will keep you chuckling. The situational comedy is hilarious. While being sensitive to Govindarajan’s condition, his naïve and innocent intrusions in the scenes entertain.

Love blossoms between Shiva and Dr. Archana (Indhuja) who accompanies him in his search for his father- more of a mature relationship and without the usual song duets.

The actors are brilliant. Prakash Raj steals the show with his Govindrajan-childlike and loving. Vikram Prabhu’s performance is mature and subtle and Indhuja matches pace with him. Samuthrakani the versatile actor is at his best. Elango Kumaravel’s comic timings are wonderful.

’60 Vayadhu Maaniram’ is a family entertainer that conveys a message-What happens when our loved ones lose their bearings!

‘My Story’ a love story that lacks conviction

By Mythily Ramachandran

Prithviraj and Parvathy keep this weakly scripted tale afloat

Costume designer turned director, Roshni Dinaker’s debut film, ‘My Story’ is set in Portugal. While its picture post-card visuals leave you in raptures, the romantic story packaged within does little to touch your heart.

Jai (Prithviraj) an aspiring actor  realises his ambition with his first film. For the young man from an ordinary village, it’s the crystallisation of a dream that goes back to his  childhood days.

Over time, Jai becomes a distinguished actor winning accolades, but he is  tormented by a guilt-something he had not done right as an emerging actor. Hoping to atone himself of this guilt, he arrives in Lisbon-where his debut film was shot.

Scripted by Sankar Ramakrishan, this romantic story shifts between the past and the present, taking viewers through the lives of Jai and Tara, (Parvathy)-a star opposite whom Jai was paired on debut. In fact, it’s more about Tara, who tries to break free from the fetters that bind her to producer, David Eapan (Ganesh Venkataraman)- her fiancé too. And, as expected she falls in love with Jai.

‘My Story’ carried great expectations, more so since it brought together onscreen- Prithviraj and Parvathy- a second time after the acclaimed ‘Ennum Ninte Moideen.’ While RS Vimal’s story stood out with its poignant moments and brilliant writing, ‘My Story’ stumbles due to weak writing.  Ganesh Venkataraman’s David is not well crafted. Painted as the villain, Venkataraman, a good performer has very little to do. 

Besides, a love story stands on emotional moments-the yearning for one another, accompanied with a fear of losing a loved one. We don’t find them here much. Did Tara fall in love with Jai  just to escape from David? What about Jai, who addresses her initially as ‘Madam’ and then gets to like her company. Did he feel strongly enough for Tara to let her go?

However, the film entertains and that’s because of the performance of the lead pair. Prithviraj as the older Jai- salt and pepper look- impresses. Parvathy the terrific performer that she is, juggles between two roles and make-overs-a young and an older character. I loved the young Hima -vivacious and cool. 

As for the fringe characters, you don’t remember them. Some silly moments mar the pace of narration- the scene where Jai and Tara enter a pub where a crowd is watching a soccer match on telly-is drawn out. Earlier a song sequence crops up at the most inopportune moment. 

‘My Story’ is predictable and fails to impress.     

‘Njan Marykutty’-a sincere story told honestly

Sankar’s sensitive narrative and Jayasurya’s pitch perfect performance leaves you overwhelmed

By Mythily Ramachandran

Njan Marykutty’ is a soulful story that touches your heart while unfolding the life of a woman   trapped inside a man’s body-of a journey that seeks liberation and realisation of dreams.

A first of this genre in Malayalam cinema, ‘Njan Marykutty’ is shorn of the usual ridicule that often accompanies the characters of transgenders portrayed onscreen. Director Ranjith Sankar’s  writing is marked with sensitivity and devoid of melodrama- yet most poignant, leaving you misty eyed.

Right from the word go, ‘Njan Marykutty’ stoked curiosity online once Sankar posted pictures of actor Jayasurya piercing his ears to play Marykutty. 

What does it feel to be a woman trapped inside a man’s body?
Ask Mathukutty, (Jayasurya), a software professional, who strongly believes that he is a woman. He leaves home one night after writing a note to his parents refusing to marry the girl they had arranged. 

After undergoing a sexual reassignment surgery, Mathukutty becomes Mary Kutty. From then on, it’s the life she stakes claim to- as an individual who is trying to achieve her goal solely on the merit of her talent. But is Marykutty’s family and the society around ready to embrace the new person?

The writing is solid. It’s not just Mary Kutty but every  character in the story is well-detailed, making them believable.
Jayasurya’s Mary Kutty stands dignified as she dares to fight against her birth identity. While there are enough enemies to thwart her dreams, Mary Kutty’s life is not bereft of good samaritans-her schoolmate, the single mother (Jewel Mary) with a daughter who takes in Mary Kutty; the church priest (Innocent) who is the pillar on which Mary Kutty leans upon and the understanding district collector (Suraj Venjaramoodu). 

It’s clearly a career defining role for Jayasurya who carries Mary Kutty gracefully within him. Be it in her sari clad attire, or in her gait, you notice the woman yearning to find her own place. Despite the barbs thrown at her by people around, Mary Kutty is never embittered. Neither is she holding any grudge against anyone nor angry with God, her creator. That’s what is most beautiful about the character and the writing.
The moment where she breaks down inside the prison following a humiliation brings out the finer aspect of the actor Jayasurya.

Safe in  Jayasurya’s hands, Marykutty’s tale comes with her feelings respected, her ambitions understood, eventually becoming the voice for the other Marykutty’s around, who are grappling with their identities.

 Keeping pace with him is actor Joju George. As sub- inspector Kunjipalu, he is out to take a vengeance on Mary Kutty. Wth a supportive subordinate he indulges in crass jokes, while revealing the highhandedness of the police force. George is brilliant.  

As for people around, they are visible in the gazes averted, hushed whispers and references of ‘ee Sadhanam’ (this thing) when Mary Kutty walks amidst them. 

One scene stayed with me-the moment when Mary Kutty needs to use the loo and she does not know whether to enter the male or  female  room- she eventually walks into the one meant for disabled persons.

‘Nyan Mary Kutty’ breaks out of the mould of Indian cinema stereotypes and a film that finds a place in history. Tip my hat to Sankar and Jayasurya.  

Will this bring home another national award for Jayasurya like it did for Kannada actor Sanchari Vijay for his portrayal of a transgender in the film ‘Naan Avanalla Avalu (I am a He not a She)?

‘Naachiyar’: A tough police officer gets justice for a young man implicated in the rape of a minor

By Mythily Ramachandran

Tamil director Bala’s new film, ‘Naachiyaar’ is a clear departure from his earlier films that were synonymous with tragedy. It’s a solid film that bolsters its innately compelling narrative with stand -out performances by the three lead actors- Jyotika in the titular role of a no nonsense police officer Naachiyar; G.V. Prakash a poor fruit vendor Kaathu, who is framed in the rape of minor and newcomer Ivana as Arasi, a domestic maid in love with Kaathu. And, this love story told against a police investigation leaves you smiling- a first with a Bala film.   

‘Naachiyar’ though pegged around lovers Kaathu and Arasi, also dwells on the career of an upright and tough police officer, Naachiyar, who does not rest until justice is done to Arasi.

The love story of Arasi and Kaathu is set rolling with a  ten rupee note that Arasi owes Kaathu during an auto ride. Their subsequent meetings are told humorously as Bala builds the relationship between the two teenagers. One thing leads to another and Arasi is pregnant.

Nachiyaar is a much dreaded police officer known for her tough handling of culprits. But inside this mother of two girls, there lurks a compassionate woman who begins to care for Arasi. Unrelenting in her search for the man responsible for Arasi’s condition, Jyotika strides tall as Nachiyar. Holding back no punches, it’s a power packed performance that Jyotika delivers.    

Music composer turned actor G.V. Prakash who started his acting career as the jilted lover in ‘Darling’ is barely recognisable. Under director Bala, Prakash putty like transforms completely into the simpleton that Kaathu is. With this role that is far away from his earlier lover boy characters, Prakash raises the bar for himself with a breakout performance. He completely owns Kaathu.

New comer Ivana plays the perfect tango to Prakash. Pregnant with a child, her Arasi comes with a playful  streak and a maturity in which Kaathu finds compassion. Good humour accompanies the scenes between Kaathu and Arasi and generates a nice onscreen chemistry-the tenderness in their love is tangible almost. 

Interwoven into this investigation are few nice moments, like the Muslim wedding scenes. The supporting cast deserves mention-producer cum actor Rockline Venkatesh plays Naachiyaar’s colleague; the young actors playing the juvenile criminals who bully Kaathu at the remand home show talent and the actor playing Kaathu is not easily forgotten.

This Bala film clearly wins with a magnanimous lesson on true love.