'Drama’ unoriginal and shoddy

By Mythily Ramachandran

Despite a good cast, this movie is disappointing due to bad writing

The premise of 'Drama' — about respecting a mother’s last wish — is heart warming, but it soon turns its focus on the lead actor, Mohanlal, thus becoming a tragedy of errors.

The film opens in Dubai, where Jomon is on the phone with his mother, Rosamma (Arundhati Nag), now in London with her youngest daughter, Mercy (Kaniha). She tells him that whenever she dies she would like to be buried next to her husband in Kattapana, Kerala.

In London, Rosamma is happy spending time with Mercy and her children. It’s a bright morning when her end comes.

The scene preceding her demise is beautiful. Wearing a fine sari, Rosamma is ready to take on the day. Her son-in-law (Shyamaprasad) compliments her. After waving her grandchildren off to school, she picks a bunch of fresh flowers and goes to her bedroom. She lies down, cross in hand and prayers on her lips. Slumber takes over and a peaceful Rosamma departs still holding the flowers.

The funeral will take place in London and Rosamma’s four other children, living in different parts of the world, arrive at Mercy’s home. There is nothing new in the characterization of Rosamma’s children — a stingy and bossy elder brother, a greedy son-in-law and a manipulative older sister. Why is the youngest always the under-achiever who ultimately cares for the parents?

Dixon Lopez Funeral Services, an undertaker agency, is entrusted with the funeral arrangements. But Jomon is not happy. Remembering his mother’s last conversation, he wants to take her body home to Kattapana to be laid next to his father’s grave.

Intended to be a satire around Rosamma’s funeral, the story veers off track with the arrival of Rajagopal (Mohanlal), the other partner of Lopez. The drama now shifts from Rosamma’s family politics to Rajagopal, who is trying to win his wife (Asha Sharath) back and find his way home. There is enough drama, though it’s of little significance. Mohanlal entertains audiences, no doubt, especially the scene where he shares his drink and chocolate bar with Rosamma lying in the coffin box.

Drama suffers from patchy writing. Despite a formidable cast — Dileesh Pothen, whose Lopez keeps you chuckling as he tries to make the most of this business opportunity; Asha Sharath as Rajagopal’s wife in a role that does little justice to her potential and Renji Panicker as the local political leader — Drama disappoints. The sexist jokes thrown in are old hash and barely tickle. Neither can the splendid visuals of London save the sagging script.

‘Papanasam,’ remains faithful to ‘Drishyam’

By Mythily Ramachandran

How often do remakes receive the same appreciation as its original film?
Seldom.
When a good film is turned into another film in a different  language, the story often gets distorted so as to,  “suit the local sensibilities,’ and in the process the essence of the core is lost.
But with ‘Papanasam,’ the Tamil remake of ‘Drishyam,’ (Malayalam),  director Jeethu Joseph scores once again.  Joseph has made little changes leaving the soul of the story intact. And that’s why ‘Papanasam,’ clicked with viewers.
Joseph’s story is about an ordinary cable television operator who has not studied beyond class four. A loving husband and doting father to his two daughters, Suyambulingam (Kamal Haasan)  does not aspire big. All he cares for is the happiness of his family.
But when an outsider enters and disturbs their peace, this father will go to any extent, solely to protect his daughter. And, when faced with the law, he believes that the family can be saved only by staying together. This father who has always taught his children to speak the truth finds himself tutoring them to speak lies, manufacturing alibis and finally tampering with evidence.
‘Drishyam’ was the story of a Christian family, ‘Papanasam,’ is the story of a Nadar family based in ‘Papanasam.’ Mohan Lal played George kutty, the father in ‘Drishyam.’ Kamal Haasan is Suyambulingam, in ‘Papanasam.’ If ‘Drishyam,’ brought back the Mohan Lal we loved and remembered for his films of the eighties, ‘Papanasam,’ brings back the Haasan we have always admired.
Comparisons with ‘Drishyam’ are inevitable, but on one aspect viewers will be unanimous: Lal and Haasan have both played to perfection the doting father in their own style.
Haasan’s terrific performance in the climax scene is the cherry of the cake in ‘Papanasam.’
Cinema is a running sub-text in ‘Papanasam,’for Suyambulingam is a hard core film watcher. And when confronted with an issue in life, Suyambulingam resorts to film shots to sort it out. Joseph has beautifully woven this aspect into the major story.
Asha Sharath and Esther Anil who have reprised their roles from the original deliver performances that is one notch higher than in ‘Drishyam.’ Sharath as the mother agonizing over her missing son is a tough cop who uses power to intimidate Suyambulingam and family. Winning hearts again is Esther, as Suyambulingam’s little daughter who succumbs to police power and spills the truth. Gauthami makes a good comeback opposite Haasan as his onscreen wife. Nivetha Thomas, reprises Ansiba Hassan’s character and is remarkable. Surprising viewers is Bollywood’s Ananth Mahadevan, he plays the role Siddique did in ‘Drishyam,’ and the veteran director-actor is perfect.
‘Papanasam,’ is a gripping tale that is unpredictable and leaves you stumped in the end.