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.