Sufiyum Sujatayum’: A story told from the heart

Marked with terrific performances and visuals, this love story remains true to its genre

Since time immemorial, parental pressure and religion has kept lovers from uniting. Debutant director Naranipuzha Shanavas’s ‘Sufiyum Sujatayum’ follows the life of Sujata (Aditi Rao Hydari)-a speech impaired young woman and her love for a Sufi (Dev Mohan).

The film opens with Sujata (Aditi Rao Hydari) and her family-husband Rajeev (Jayasurya) and daughter- living in the middle-east. The following morning Rajeev receives a message. His wife’s former lover is dead and the burial is planned that evening. Rajeev does something not many men will do. He flies to India with Sujata so that she can pay her last respects to her Sufi. Rajeev hopes that it will bring a closure to a past that has been intruding into his present.

Shifting between the past and the present Shanavas stays true to the genre while resisting temptations to making it a melodrama. Neither is he keen on biting the bait of a communal line lying underneath.  

‘Sufiyum Sujatyum’ opens with promise, falters midway but finds its feet ultimately to usher in a dawn filled with love. While the narrative is told from Sujata’s perspective, the Sufi remains an enigma. What inner turmoil does he go through when in love? ‘Sufiyum Sujatayum’ could have reached its full potential if more focus had been given to the Sufi.

You can’t help remembering another Malayalam story- ‘Ennum Ninte Moideen’- where religion came in the way of love. ‘Ennum Ninte Moideen’ found its rightful place solely due to its brilliant writing and pathos filled scenes executed perfectly by Prithviraj and Parvathy.

Yet, Shanavas’s maiden film deserves praise on several counts. There are aspects in his screenplay and staging that indicate he is a talent to look out for. The town where the story is placed is in harmony with Hindus and Muslims living together. Sujata often visits Aboob-Sufi’s mentor- and her father (Siddique) is fine with it until she falls in love. 

Small details make many scenes real. The burial scene is shot in a methodical manner. When Rajeevan tosses a handful of soil in the grave, he is burying a past. For a moment he almost slips into the grave but is pulled back by someone. A simple touch added there. 

Siddique’s emotional outburst in a scene left me with goose bumps. The veteran was spot on as Sujata’s father.  Kalaranjini complements Siddique well. You can’t help smiling at this naïve woman. In one scene she brings a cap that she stitched for her grand-daughter and gives it to Rajeev. When he remarks that it was a bigger size, she has an answer-‘a safety pin will correct that.’

Shanavas sprinkles humour during tense moments-the cab driver when  intercepted by the police for speaking on his mobile, blabbers about his wife being suddenly pregnant instead of ‘pregnant wife had to be suddenly rushed to hospital.’ The driver made me smile in another scene where Rajeev calls him up to check for his lost passport. The driver says that the passport was not in his car, but before calling off, he shares news of his wife’s delivery.  Who comes up with situations that mirror life?

Aditi Rao Hydari brings in the vulnerability of a woman hindered by speech yet fearless in love. Looking beautiful with barely there make up, Hydari lights up every frame. Remarkable is the scene where she breaks down following a close family member’s death.   
Dev Mohan is earnest in his role and impresses on debut. As the Sufi, he carries a warm glow. Manikandan Pattambi whose character turns the course of the story is a spontaneous performer. The graveyard scenes involving a search for something lost keeps the adrenalin going with a dread-‘What if? 

When curtains fall, it is Rajeev who lingers long. Jayasurya’s subtle body language conveys well Rajeev’s relationship with Sujata. Though frustrated with his wife’s past and bristling with anger inside, Rajeev’s love for Sujata surpasses everything. Jayasurya is fantastic. 

M.Jayachandran’s music is soulful melody. The song, ‘Alhamdulillah’ is divine while the lyrics of Hindi song ‘Kya Karoon’ beautiful. DOP Anu Moothedath’s frames are spectacular from the word go-every frame   created with care- and some are surreal.

‘Sufiyum Sujatayum’ is not about love only but in understanding the one you love.

‘Kappela’ excels as a small-town tale with a big heart

Appearances can be deceptive.
Actor turned director Muhammed Musthafa debut film, ‘Kappela’ cautions viewers on this point with a simple story set in Poovarmala in Waynad. 

Jessy (Anna Ben) lives in Poovarmala in the Waynaad ranges with her orthodox parents and younger sister. Theirs is a simple life-father is a farmer, mother undertakes tailoring orders and Jessy assists her mother in stitching.  

An accidental call to a wrong number changes Jessy’s life. Vishnu (Roshan Mathew) an auto driver from Mallapuram takes the wrong call and pursues Jessy over phone.  It doesn’t take long for Jessy to fall in love with Vishnu and his voice over conversations they share. 

Benny (Sudhi Koppa), a young man from the neighbourhood is in love with Jessy. He approaches her parents for her hand in marriage. As their wedding is fixed, Jessy decides to meet Vishnu. She leaves for Kozhikode alone one early morning. Vishnu agrees to meet her at the bus stop. Jessy and Vishnu have not been able to share their pictures since Jessy uses an old phone. She cannot afford a smart phone. They are acquainted with each other by their voices only.  

Do the lovers meet as planned?

‘Kappela’s writing and screenplay with well sketched characters is its biggest strength. The narration is simple, the mood and tone rooted in reality, conversations real as the story glides smoothly like a well oiled machine lending a fly on the wall experience and you soon invest in Jesssy’s life.  

The casting is pitch perfect as the lead actors Anna Ben, Roshan Mathew and Sreenath Bhasi are fantastic with their portrayal.  Unsophisticated, simple and living on the high ranges of Waynaad, Jessy’s big dream is to see the sea. What’s beautiful about Malayalam cinema is the natural look the actresses sport. Anna Ben is growing as an actor with each film. This is her third film. Her Jessie easily finds  way into our hearts. Ben neat play of emotions of the small town young woman-vulnerability and gullible-is commendable.  

Vishnu wearing a red pottu  on his forehead always is the perfect picture of that friendly  guy in the neighbourhood whom people seek in times of distress.  That was quite a challenge to depict and Mathew is brilliant, never going overboard with his expressions. 

A stark contrast to Vishnu is Roy (Sreenath Bhasi).  This unemployed BBA graduate is job hunting and has no qualms about removing his lover Annie’s ring so that he can pawn it for his requirements. With his cocky mannerisms and tough attitude, Roy is not someone you will warm up to soon. He enters the lives of Jessy and Vishnu at Kozhikode. Bhasi has been experimenting with varied roles and proves his versatility again. Sudhi Koppi plays Benny the nice guy whom you wouldn't wish to hurt. 

Actor turned director Musthafa

Director Mushthafa has acted in several films in supporting roles. He received special mention by the national jury for playing the lead in 'Ain. Musthafa plays a small role in Kappela. 

Little details make the scenes real and relatable-an old woman asks the bus conductor to let her know when her stop arrives while the passenger in the seat behind Jessie tells her lower down the shutter in the rains. That Jessie’s parents are orthodox comes through the scenes and not through loud dialogues.

Without resorting to loud melodrama and screaming out a social message, the danger is there for all to see. It’s most poignant when a disillusioned Jessy asks Roy- like a child-, ‘Will you show me the beach?’ 
 

Cinematographer Jhimsi Khalid’s visuals are spectacular. The opening scene is beautiful, as two friends under an umbrella braving the rains reach a bus-stop. Poovaram the small town on the mountains is caught at its rustic best. And, the kappela (chapel) which Jessy frequents is just a basic shrine of Mother Mary perched on a mountain and devoid of decorations yet seems to hold an enigmatic power over the little town below. That closing shot was beautiful. 

‘Penguin’ disappoints despite Keerthy Suresh’s splendid performance

By Mythily Ramachandran

The opening scene sets the mood for a thriller about a missing child and the scenes that follow are promising, but midway ‘Penguin’ gets grounded with an unconvincing plot and several loose ends hanging.

Championing the cause of child sexual abuse seems to have become a trend in Tamil cinema today. There is nothing wrong about it, if only film-makers had an engaging story that educates children on potential abusers and self-protection while guiding parents on being open and accessible to their little ones.

Keerthy Suresh leads this emotional thriller

Written and directed by debutant Eashvar Karthic, ‘Penguin’ becomes more a film about glorifying gore and personality disorder while taking refuge in lauding motherhood.

Rhythm- (Keerthy Suresh) -a mother who cannot get over the loss of her son Ajay-is pregnant with her second child thus making her vulnerable enough to hook onto viewers emotions.  And, she does not hesitate to put herself in the most dangerous situations.

Suresh makes her Rhythm endearing. Some of her scenes are unforgettable-the one in a hospital where she plays with a little girl is beautifully captured. Intense is her performance in the scene where Rhythm reunites with her son. Despite the hard work Suresh puts in and reiterating the wonderful performer she is, ‘Penguin’ disappoints.

With the exception of Linga-who plays Raghu, Rhythm’s former husband- the rest of the supporting actors carry a wooden expression. 

Linga plays Raghu, Rhythm's former husband

The writing suffers. There are several loose ends. Rhythm’s relationship with husband Gautham is little explored. 

What about Ajay’s trauma? For one who has been away from home and family for six years, it is touched perfunctorily. 

Fighting one antagonist is not enough for this mother. Neither is there a back-story for him and his actions, but  he is portrayed as a maniac with scenes painted in gore and innards. 

And, then comes a second antagonist making ‘Penguin’ an exhaustive exercise.

Karthik Palani’s visuals of Kodaikanal are beautiful-verdant vegetation, misty mornings, rushing rapids, floating clouds and eerie silence of the nights. But beyond the frills ‘Penguin’ fails to take off.    

‘Pon Magal Vandhal’ a story with an important message

While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them,’ says lawyer Venba in this courtroom drama

By Mythily Ramachandran

A tranquil misty morning’s beauty is shattered by gun shots and a child’s cries, ‘Amma Amma.’ News reported on television talks about the arrest of Jyoti-a psycho killer who has been abducting little girls in Lovedale, Ooty. The next breaking news is about Jyoti’s death in a police encounter and recovery of dead bodies of children in the yard around her house. According to media reports Jyoti was a wanted criminal from Jaipur. This case of 2004 thus solved is closed.

Jyotika plays a lawyer Venba

Cut to the present- fifteen years later. We meet Pethuraj (actor director K. Bhagyaraj) better known as Petition Pethuraj for his many petitions against small crimes filed in court. He lives with his daughter Venba (Jyotika).

When Pethuraj files a petition reopening the case of Jyoti who he believes has been wrongly implicated by the police, it is Venba who takes up the suit-her first case as a lawyer. But then, she earns the wrath of the local community for pleading the case of an inhuman killer.

Why does Venba take on this case? Who is Jyoti?   

The team-Pandiarajan, K. Bhagyaraj, Pratap Pothen, director J J Fredrick, Jyotika and Parthiban

Debutant director J.J.Fredrick’s ‘Pon Magal Vandhal’ is a court-room drama that spills skeletons out of the closet while unearthing the truth about Jyoti. Child sexual abuse being the plot point here, the film closes with Venba saying-‘While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them.’ According to National Crime records India ranks seven and Tamil Nadu occupies the third place with respect to child sexual abuse.

The producers actors Surya and Jyotika deserves a pat for taking on this subject along with the director who instead of a formula story around a star preferred the less beaten track. Fredrick makes a good start. Of late portraying north Indians as criminals has become the norm in Tamil and Malayalam cinema. I liked that point made here and rebuking us for making presumptions about north Indians. But, the story required better writing.

‘Pon Magal Vandhal’ is more of an investigative thriller and less of a court room drama. There are some unwarranted scenes supposed to evoke laughter and characters having little to contribute. Jyotika playing a dual role is not a good idea either.

Jyotika who has been selective about roles in her second innings is earnest and sincere in championing the cause. She has dubbed for herself in Tamil-which is not her mother-tongue. She is in fine form as Venba. 

Director Fredrick with actor Thiagarajan on the sets 

Parthiban plays lawyer Rajarathinam countering Venba in court. He is in his usual element delivering lines with a play on words.

What makes ‘Pon Magal Vandhal’ worth a watch is its important message and Jyotika’s performance. Cinematographer Ramji’s visuals are a treat.
And, yes like Venba says-‘Let’s teach our sons a couple of things too.'

Debutant director P.R. Arun poignant sports drama is led by Rajisha Vijayan and Niranj Pillai

By Mythily Ramachandran

Theater director and scriptwriter of ‘Jamna Pyari’ (2015) P. R. Arun rides into Malayalam cinema with a poignant story of a national cyclist champ and her father’s dreams. But this is not a regular story of an underdog battling against all odds to eventually emerge triumphant. It is about two men and their love for a woman who goes through a tragedy. How do they deal with it?

Alice Verghese (Rajisha Vijayan) was in primary school when she got her first bicycle-a gift from her father (Suraj Venjaramoodu). Since then she has enjoyed riding, especially challenging her close friend, Manuel-living next door- into a race with her. While he sprinted on foot to school, Alice sped on her cycle.

Soon cycling becomes a passion for Alice. Egged on by her father- Verghese a former athlete- she put the little town of Katappana in Iddukki on the national map as a national champion. Alice is now gearing up for the Tokyo Olympics. A mishap punctures the dreams of this father and daughter.

Another filmmaker would have chosen to follow the time tested template and make it a story of Alice’s return. Arun- recipient of G. Sankara Pillai award (2003) for Best Playwright in Malayalam for the drama ‘Phaeton’- follows his own path. Without going the ‘Chakde India’ or ‘Dangal’ way, ‘Finals’ wheels on its solo track with a simple story told without cinematic frills and elevated with an astounding performance from its cast.

This story of an ordinary family has several moments that the audience will relate too. In the absence of her mother, Alice and her father share a close bond. The scene where Alice takes permission from her father to express her love for Manuel is beautiful. Vijayan’s   Alice is unlike her earlier films, yet full of life. Vijayan does not go overboard with her portrayal.

Suraj Venjaramoodu is the show stopper here. Speaking little, his Verghese is a man defeated in life but finds meaning in life through his daughter and her dreams.  Venjaramoodu speaks more through his eyes-Verghese’s disappointment, sadness and anger is tapped through glances. Venjaramoodu wins hearts.

Surprising viewers is Niranj, who has worked in other films earlier. This is clearly his big break. With well etched characters, director Arun makes viewers invest in their lives. Manuel with full sleeved shirts and flip flops undergoes a sea transformation in the second half of the story. His love for Alice is free from valentine moments. Their love is  felt in moments together-when Alice goes on her morning sprint and hails out to Manuel who is busy distributing newspapers-in a challenge to overtake her-a ritual that goes back to their school days. Manuel’s love is the kind every woman yearns for -unselfish, caring and so true. Niranj meets his director’s vision completely as he delivers Manuel.

And as Arun takes his story on a different route, he also raises voice about politics in sports and step-motherly treatment meted out to sportspersons. There is a lot of warm vibes and good will with respect to the fringe characters. Shot in Kattappana  district of Idukku, DOP Sudeep Elamon’s frames are a feast for the eyes.

‘Finals’ proves again that a good story told from the heart will reach far and near. Certainly not the loud noise made by a starry cast. Don’t take the audience for granted.