Malayalam film ‘#Home’ celebrates family bonds

 Malayalam film ‘#Home’ celebrates family bonds 

 

By Mythily Ramachandran 

 

 There is no place like home-those four walls within which one can be yourself –warts and all-and among people who love you for being you.

 Malayalam director Rojin Thomas’s new film, ‘#Home’ is all about this special space. And, he builds a heart-warming family drama story laid on the bricks of love and honesty. 

Indrans as Oliver Twist  

Oliver Twist (Indrans) is an unusual name for a protagonist of a Malayalam film. Oliver’s father (Kainakary Thankaraj ) worked as a typist in the fifties and used to type English stories into Malayalam. The classic ‘Oliver Twist,’ was his favourite. He chose that name for his firstborn. Subsequently, Oliver’s brother was named Peter Pan, and his sister, Mary Poppins. The English language’s hangover continues today with the old man, who speaks only in English in this Malayalam ‘home.’ 

Sreennath Bhasi is Antony, a film director

 

Oliver’s eldest son, Antony (Sreenath Bhasi), made an impressive debut as a film director but with his second script, he is struggling with writer’s block. At the suggestion of his producer Baby (Maniyanpilla Raju) Antony goes to the very place where he wrote his first script-his home. And, like every home, his home encapsulates drama and chaos.  

L-R-Sreenath Bhasi, Nalson Ghafoor, Indrans and Manju Pillai

 

Three generations live under the same roof-a grandfather who cannot hold his bladder; Oliver, the technology illiterate simpleton learning to use his new smartphone; his wife Kuttiyamma, (Manju Pillai) a pragmatic woman, who minces no words with her sons; their eldest son Antony in love with Priya (Deepa Thomas)- the only daughter of Joseph (Srikanth Murali) an illustrious man and Charles (Nalsan K Ghafoor ) Anthony’s younger brother -an Instagram addict.

 

 Thomas shows his grip as a storyteller. The screenplay flows seamlessly. Without making it a melodramatic tale spouting a social message, Thomas captures relationships with a sincerity that makes ‘Home’ real and relatable. There are moments in ‘Home’ that might seem to have been lifted from your and my home. 

 

The generation gap is there to see. Oliver’s sons are loving guys but it’s their cocky attitude so typical of the new age that causes hurt and pain to their parents. Oliver who loves his sons to a fault takes the brunt of it. ‘Home’ appeals with its emotional moments that are universal –the shaky relationship between parents and children once they turn adults- the young generation’s dismissal of their parents’ ideas and taking them for granted-will ring true for many in the audience.

 

Holding up ‘Home’ is a brilliant team of actors. The casting is pitch-perfect. Thomas elicits fabulous performances not just from his main actors but from every member on board. Indrans proves that the comedian in him can shoulder more significant roles. His Oliver-a diminutive and unassuming man- wins hearts all the way. With little touches and nuances in his expressions, the Kerala state awardee brings out the pain and disappointment that Oliver tries to conceal while interacting with Antony.

Sreenath Bhasi plays the young director to the hilt. Antony’s unkempt hair and beard certainly remind us of our sons. The supporting characters are vividly drawn. Manju Pillai’s chemistry with Indrans is amusing. They play the perfect tango. While Oliver is forgiving of his sons’ behaviors it is Kuttiyama who always puts her sons in place. Humour is neat-situational largely. Ghafoor brings in the laughs. His Charles is an inveterate talker who is busy posting videos on social media.

 

Actor-Producer Vijay Babu plays a psychologist

Another interesting role is taken on by Malayalam director Johny Antony. He is Oliver’s childhood friend, Suryan. Their camaraderie is fun. Vijay Babu who has produced the film under his banner, ‘Friday Film House’ essays a psychologist. It took a while to recognize Srikanth Murali as the bald Joseph. Murali who has explored different roles earlier leaves his mark again. His Joseph is not one forgotten. 

 

 A poignant scene stayed with me. The family returns home from Joseph’s birthday party. Oliver sits down beside Antony and tells him, “Son you were right. Lightning cannot strike through a mobile. I checked it on the internet.” What follows is beautiful- the show of affection between the father and son-spoken in silence.

 

Cinematographer Neil D Cunha’s frames follow the characters closely, sometimes getting intimate with their feelings. Cunha’s shots are spectacular-Oliver’s house built on different levels is a beauty in its simplicity.  

 

‘Home’ reinforces the universal truth that human goodness always prevails. And, there might be something extraordinary in the life of an ordinary man. Told from the heart ‘Home’ is a must-watch for all age groups. Clearly, everyone will agree with Antony-‘I am always imperfect at my home.’

 

 Catch it on Prime Amazon.

‘Koozhangal’ a Rotterdam Tiger award winner-leaves you stunned with its simple story and a performance that is so real

By Mythily Ramachandran

There is one scene in Tamil film, ‘Koozhangal’ (pebbles) that best defines the women of Arittapatti-where the story is set.
An old woman is sitting near a shallow pit where water trickles slowly from the ground below. Using a mug to scoop up the water little by little, she fills a plastic pot kept nearby. Watching her in the process is a group of women who are waiting their turn to fill their pots in the same manner. Undoubtedly it’s going to be a long wait but patience seems to be the second name for these women. There is no resentment nor impatient signs on their faces. They have resigned to their fate in Arittapatti-a drought-affected region in Tamil Nadu-where water is a luxury. Debutant director P S Vinothraj takes viewers on a journey offering us a glimpse into Arittapatti and the lives of people there.

When Shanthi leaves her alcoholic husband for her parents’ village, her husband Ganapathy is enraged and he sets out to bring her back. But he is not going alone. He barges into his son’s school and pulls out their son, Velu  (Chella Pandi) and the two take a bus. Reaching Shanthi’s village, Ganapathy tells Velu- “Tell your mother to come now, or else I will marry someone else.”

 Velu takes time at his grandmother’s home and an infuriated Ganapathy enters their house, abusing them leading to a scuffle between him and Shanti’s brother. Ganapathy is beaten up, his shirt is torn and he learns that Shanthi has already left for their home. As the father and son wait to take the bus back home, Ganapathy threatens to kill Shanthi when he tells Velu, “From now on you have no mother, only a father.”

The bus journey back home does not go as planned. And, the father-son duo are forced to walk barefooted in the scorching heat across the arid terrain.

Vinothraj’s story captures a day’s event in their lives. His narration is simple and rides on the shoulders of two newcomers-Karuthadaaiyan and Chella Pandi, who play their roles of Ganapathy and Velu with aplomb. Karuthadaaiyan with his boorish demeanor and hurried gait that is marked with a purpose is completely Ganapathy- an angry man with a sense of entitlement. Velu barely speaks. His anxiety and confusion are reflected in his eyes. Chella Pandi is brilliant.

Debutant cinematographers Vignesh Kumulai and Parthib with their unique frames make the trek an engaging one. It’s a beautiful opening scene that sets rolling this journey. An arched branch with a bird’s nest hanging at its end sways in the breeze. And as a bus approaches its stop, we get a peek inside. The camera hovers over a sleeping man and then lingers over a sleeping child cradled in her mother’s lap. Be it the long shots across the brown landscape following a woman who alights from the bus and settles down under a tree to feed her baby, or the camera staring at Ganapathy’s back as he marches,  the visuals lend a fly on the wall experience. Attention to tiny details lights up every frame.

It’s a heart breaking moment when Velu is thrashed by his father for getting a ride on his teacher’s two-wheeler. Velu is confounded and hurt, yet this little boy never cries. As we sympathize with Velu, a pup runs up to him.Velu forgets the beating and plays with the pup. There are other moments that bring out the child in Velu. Blowing up a balloon, he sways it through the window of the bus. He even manages to take some kind of revenge on his father with a small piece of mirror that he picks on the path. It’s good humour there. Velu loves his mother and sister. My favourite scene is the one where Velu and his sister play with the puppy. We never get to meet Shanthi though.

‘Koozhangal’ highlights the poverty in this drought-affected region where a family smokes rat holes to hunt them for food. When curtains fall, Velu removes the koozhangal (pebble) he had been carrying in his mouth to ward off thirst on the journey and adds it to his collection of pebbles.
Does it mean that this road journey was one of many before?  Like the women of Arittapatti Velu has learnt to take life in his stride.
Don’t miss this masterpiece.