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.