Georgettan Pooram: Lacks magic

Story about an important kabaddi match is let down by weak writing

By Mythily Ramachandran

Matthayi Parambu, a vacant ground in Thrissur, carries an interesting history in the film Georgettan Pooram. This land was given to national kabaddi player Mathayi by the government in recognition of his achievement in the sport. Mathai in turn donated it to his village as a public playground to encourage kabaddi. However, kabaddi never found any place there, or for that matter any other sport either.

Over time, Mathayi Parambu became a space for everyone to meet and watch time go by. In particularly, it was the favourite haunt of George (Dileep) and his friends, Vava (Vinay Forrt), Pallan (Sharfudheen) and Chullan (Thiru Actlab). It was their second home actually, where these four idle men spent time mostly with alcohol for company.

Trouble brews when Peter, Mathayi’s son (Chemban Vinod Jose) takes claim over his father’s piece of land. He has a plan for this space. Obviously that plan conflicts with the welfare of the villagers, That prompts George to wake up from his idle life. It now becomes his life’s purpose to protect Mathayi Parambu so that it can remain with the villagers.

Deciding the destiny of Mathayi Parambu is a kabaddi match to be played by the villagers led by George against a team of veteran players.

Directed by K. Biju, George Ettans Pooram is a typical Dileep film with comedy and a couple of obscene jokes. The story had potential to become a good sports drama but the weak writing takes it downhill.

‘Iyobinte Pusthakam’ is sheer poetry in every frame

When  an acclaimed cinematographer like Amal Neerad directs a film, you can expect a visual treat. ‘Iyobinte Pusthakam,’ is Neerad’s eleventh film.
The story opens with Punnose, a communist comrade who has penned a book, ‘Iyobinte Pusthakam.’ Punnose is living in the seventies when the emergency period was declared in India. While he waits for the arrival of the police to arrest him, Punnose narrates this story from his life.
‘Iyobinte Pusthakam,’ a saga of Iyob and his three sons belongs to the pre-independence era of India and is set in Munnar tea estates. When we first meet Iyob, he is a young lad working in the tea estates of Harrison, an Englishman. Harrison rescues Iyob from being thrashed by his  supervisor and soon takes him under his wings.
In some time, Harrison’s wife fed up with the Indian life returns to UK. Harrison takes in Kazhali, a Toda tribal woman (considered a sorceress and feared by the natives) as his mistress. Kazhali’s good fortune ends with Harrison’s death.
Now, Iyob assumes charge over Harrison’s house and estate.  And wastes no time in throwing out Kazhali, who is pregnant with Harrison’s baby. From a docile servant, he changes to become an arrogant and dominating master in the estate and is most feared and despised. 
But his wife, Annamma is unhappy with Iyob’s attitude towards  Kazhali and extends friendship to her. Annamma contracts malaria and dies, leaving Iyob to bring up their three sons alone.
Dmitri and Ivan, the elder two sons are a chip of the old block, but .  Aloshy, their younger brother takes after Annamma and is soft hearted. After witnessing his older brothers kill their servant girl, a terrified Aloshy runs away from home. He joins the British Navy.
The film picks up steam when Aloshy is forced to return home after being indicted in a naval mutiny against the British Queen. He is shocked to find that his father and two brothers have not changed at all. They remained the domineering masters and harassed the commoners.
While Dmitri, indulged in sexual exploitation, not sparing any woman,  the egoistic Ivan was power hungry. Trouble brews when Aloshy reaches out to the poor and oppressed and with his two brothers baying for his blood following an argument, Aloshy leaves home again.
From the word go, each frame is sheer poetry not just in the realm of photography but in its screenplay as well, transporting viewers on an overwhelming journey back in time.
Co-writers Gopan Chidambaram and Syam Pushkaran grab the attention of viewers with their taut screenplay. The characters are solid, busting stereotypes, each distinct from the other as they emerge on this vast canvas. Amal Neerad’s unique presentation lies in its silent eloquence where a lot is conveyed with few spoken words. Not letting down the writers and director is the flawless performance of the cast. It’s a powerhouse performance without any self-indulgent give away from veteran actor Lal Sr. As Iyob, he is terrific.
Fahad Faasil, who surprises you with every new film is brilliant as the quiet yet determined Aloshy. Barely smiling, Aloshy speaks only through his eyes mostly. Fahad has co-produced the film with Amal Neerad.
Whoever thought that Chemban Vinod Jose last seen in ‘Saptamashree Tashkarha’ as Martin, a petty thief, could transform himself into Dmitri, the sadistic and impotent husband of Rahael? Jinu Joseph as Ivan is commendable on debut. Vinayakan as Chemban is another versatile actor. Watch out for Jayasurya, as a Tamilian businessman, Ankur Rawther, who devious ways are camouflaged behind his omnipresent smile and the steely glint in his eyes.
Among the actresses, Padmapriya is outstanding. As Rahael, Dimitri’s wife, she plays a seductress to the hilt, who switches loyalties to suit herself. Lena as Kazhali brings to the fore a tribal woman, who has been wronged.  Somehow Isha Sharvani as her daughter Martha, flits in and out of frames as a pretty picture. Even when in love with Aloshy, her expressions don’t come through. On the other hand, Cheeru, Chemban’s wife justifies the strong woman she personified.
But the most incongruent scene in this period tale was Amala Paul’s dance, thrust suddenly into the sequence of events.
Mind you, in this story of man eat man, there is a lot of gore and gruesome violence. Yet, this one is not to be missed if you love good cinema.