Prithviraj and Nazriya are great company in ‘Koode’

By Mythily Ramachandran

Director Anjali Menon’s emotionally stirring family drama carries her signature- bold and beautiful

Family bonds are an intrinsic part of Anjali Menon’s films.
In ‘Koode’-an adaptation of Sachin Khundalkar’s Marathi film ‘Happy Journey’-Menon explores a less feted relationship in films-the sibling bond of a brother Joshua and his little sister, Jenny. 

Joshua-working in Dubai- arrives at his hometown in Ooty, for his sister Jenny’s funeral. We soon meet his family-father Aloshy, (director Renjith) a car mechanic and mother, (theatre artiste Maala Parvathy) a homemaker. Walking into Jenny’s roomwith Joshua we get to know Jenny through her creative work and drawings. Not to forget her companion, Brownie, the pet dog.And, it doesn’t take long to sense the aloofness of Joshua towards his parents. As we flit between the past and the present we understand the reason for his anger and a deep lodged pain. Joshua is a caring son and his resentment does not manifest aloud in actions or war of words, but sometimes he cannot help himself with his sarcastic jibes.

Having been compelled to leave home at fifteen to support the family with a job in Dubai, Joshua has missed out on several things-one of which is spending time with Jenny. Post her demise he gets an opportunity to know her better and unknown to the others around, the two bond over many things, while he discovers his real self and his love for Sophie, a crush from school days.

Menon’s writing is splendid-her characters are marked with a fervour. The casting has been perfect. Prithviraj and Nazriya share a great chemistry as Joshua and Jenny. Joshua- the little boy with a love for football and train models -and who adored his sister transforms into a man who bottles up all his feelings for the sake of the family. Zubin Nazeel Navas as young Joshua is brilliant on debut. Nazriya is back with a vengeance and her vivacity onscreen reminds you of her role from ‘Om Shanti Oshana.’ Prithviraj handles a wide spectrum of emotions with ease-Prithviraj is at his best in the scene when Joshua realises that Jenny is gone forever- that’s when the tragedy of losing her sinks in. 

Menon’s story is devoid of melodrama, yet the pain and sorrow is palpable. Her writing is powerful- her narration engaging. The characters are real and vulnerable. Apart from Jenny,they don’t waste words-still they leave a strong impact. Director Renjith is a wonderful surprise. His Aloshy wins everyone’s heart. With a mere glance here or a nod in another, Renjith’s act is a master class in performance. Maala Parvathy impresses as Joshua’s mother. Parvathy and Prithviraj play love birds once again.  Sophie-a victim of marital abuse finds her freedom through love again. Once again Parvathy reiterates the wonderful performer she is. Atul Kulkarni plays Joshua’s football coach, a sport Joshua enjoyed and rediscovers it later.

The narration is speckled with warm moments-young Joshua picking up a fallen nest and restoring it to its place. Jenny in all the family photos carries a framed picture of Joshua -a cute expression of her love for her brother.
There are moments that stay with you-when the adult Joshua finds his father working on his train model from childhood days, a long festering bruise gets its balm -the silence in their stares speaks out their hearts emotions. 

There is good humour too, especially with Jenny and her ways. My favourite is the condolence meeting in Jenny’s school where a boy in her memory decides to sing to the audience-‘Daddy Mummy vettililla’ -an inappropriate number.

Cinematographer Lil Swamp’s frames hover over the quaint town of Ooty- visually stunning. Celebrating the family and homecoming, Menon once again captures hearts with this endearing drama that talks about finding again life’s joys and living life in the now.

‘60 Vayadhu Maaniram’ story tugs at the heart strings

By Mythily Ramachandran

Director Radhamohan’s remake of Kannada film, ‘Godhi Banna Sadharana Mykattu,’ is a poignant tale about Alzheimer’s patients told through an entertaining story.

Prakash Raj plays Govindarajan- a retired Mathematics Professor suffering from Alzheimer’s, who goes missing from the nursing home he is staying. His son, Shiva (Vikram Prabhu), a soft-ware professional goes in search of his father. Does he find him? 

Without being preachy, the narrative looks into the lives of Alzheimer patients. A grim reality is presented through different patients’ condition  at the nursing centre. Govindarajan’s early symptoms show when he forgets to pay the auto-driver, who is kept waiting outside for quite some time. But when he is unable to recall the word ‘watch’ and points to his wrist instead, Shiva consults a doctor with his father.

Pointing fingers at the hurried pace of life today that makes us irritable and leaves us with no time for family, Radhamohan takes Shiva on a quest for his father. Along this journey Shiva also discovers himself. 

There is a sub-plot over a murder running parallel to the main story. Samuthrakani is a gangster entrusted with this killing, but something goes wrong en-route and he is forced to hide.

Radhamohan’s trademark humour will keep you chuckling. The situational comedy is hilarious. While being sensitive to Govindarajan’s condition, his naïve and innocent intrusions in the scenes entertain.

Love blossoms between Shiva and Dr. Archana (Indhuja) who accompanies him in his search for his father- more of a mature relationship and without the usual song duets.

The actors are brilliant. Prakash Raj steals the show with his Govindrajan-childlike and loving. Vikram Prabhu’s performance is mature and subtle and Indhuja matches pace with him. Samuthrakani the versatile actor is at his best. Elango Kumaravel’s comic timings are wonderful.

’60 Vayadhu Maaniram’ is a family entertainer that conveys a message-What happens when our loved ones lose their bearings!

‘My Story’ a love story that lacks conviction

By Mythily Ramachandran

Prithviraj and Parvathy keep this weakly scripted tale afloat

Costume designer turned director, Roshni Dinaker’s debut film, ‘My Story’ is set in Portugal. While its picture post-card visuals leave you in raptures, the romantic story packaged within does little to touch your heart.

Jai (Prithviraj) an aspiring actor  realises his ambition with his first film. For the young man from an ordinary village, it’s the crystallisation of a dream that goes back to his  childhood days.

Over time, Jai becomes a distinguished actor winning accolades, but he is  tormented by a guilt-something he had not done right as an emerging actor. Hoping to atone himself of this guilt, he arrives in Lisbon-where his debut film was shot.

Scripted by Sankar Ramakrishan, this romantic story shifts between the past and the present, taking viewers through the lives of Jai and Tara, (Parvathy)-a star opposite whom Jai was paired on debut. In fact, it’s more about Tara, who tries to break free from the fetters that bind her to producer, David Eapan (Ganesh Venkataraman)- her fiancé too. And, as expected she falls in love with Jai.

‘My Story’ carried great expectations, more so since it brought together onscreen- Prithviraj and Parvathy- a second time after the acclaimed ‘Ennum Ninte Moideen.’ While RS Vimal’s story stood out with its poignant moments and brilliant writing, ‘My Story’ stumbles due to weak writing.  Ganesh Venkataraman’s David is not well crafted. Painted as the villain, Venkataraman, a good performer has very little to do. 

Besides, a love story stands on emotional moments-the yearning for one another, accompanied with a fear of losing a loved one. We don’t find them here much. Did Tara fall in love with Jai  just to escape from David? What about Jai, who addresses her initially as ‘Madam’ and then gets to like her company. Did he feel strongly enough for Tara to let her go?

However, the film entertains and that’s because of the performance of the lead pair. Prithviraj as the older Jai- salt and pepper look- impresses. Parvathy the terrific performer that she is, juggles between two roles and make-overs-a young and an older character. I loved the young Hima -vivacious and cool. 

As for the fringe characters, you don’t remember them. Some silly moments mar the pace of narration- the scene where Jai and Tara enter a pub where a crowd is watching a soccer match on telly-is drawn out. Earlier a song sequence crops up at the most inopportune moment. 

‘My Story’ is predictable and fails to impress.     

‘Njan Marykutty’-a sincere story told honestly

Sankar’s sensitive narrative and Jayasurya’s pitch perfect performance leaves you overwhelmed

By Mythily Ramachandran

Njan Marykutty’ is a soulful story that touches your heart while unfolding the life of a woman   trapped inside a man’s body-of a journey that seeks liberation and realisation of dreams.

A first of this genre in Malayalam cinema, ‘Njan Marykutty’ is shorn of the usual ridicule that often accompanies the characters of transgenders portrayed onscreen. Director Ranjith Sankar’s  writing is marked with sensitivity and devoid of melodrama- yet most poignant, leaving you misty eyed.

Right from the word go, ‘Njan Marykutty’ stoked curiosity online once Sankar posted pictures of actor Jayasurya piercing his ears to play Marykutty. 

What does it feel to be a woman trapped inside a man’s body?
Ask Mathukutty, (Jayasurya), a software professional, who strongly believes that he is a woman. He leaves home one night after writing a note to his parents refusing to marry the girl they had arranged. 

After undergoing a sexual reassignment surgery, Mathukutty becomes Mary Kutty. From then on, it’s the life she stakes claim to- as an individual who is trying to achieve her goal solely on the merit of her talent. But is Marykutty’s family and the society around ready to embrace the new person?

The writing is solid. It’s not just Mary Kutty but every  character in the story is well-detailed, making them believable.
Jayasurya’s Mary Kutty stands dignified as she dares to fight against her birth identity. While there are enough enemies to thwart her dreams, Mary Kutty’s life is not bereft of good samaritans-her schoolmate, the single mother (Jewel Mary) with a daughter who takes in Mary Kutty; the church priest (Innocent) who is the pillar on which Mary Kutty leans upon and the understanding district collector (Suraj Venjaramoodu). 

It’s clearly a career defining role for Jayasurya who carries Mary Kutty gracefully within him. Be it in her sari clad attire, or in her gait, you notice the woman yearning to find her own place. Despite the barbs thrown at her by people around, Mary Kutty is never embittered. Neither is she holding any grudge against anyone nor angry with God, her creator. That’s what is most beautiful about the character and the writing.
The moment where she breaks down inside the prison following a humiliation brings out the finer aspect of the actor Jayasurya.

Safe in  Jayasurya’s hands, Marykutty’s tale comes with her feelings respected, her ambitions understood, eventually becoming the voice for the other Marykutty’s around, who are grappling with their identities.

 Keeping pace with him is actor Joju George. As sub- inspector Kunjipalu, he is out to take a vengeance on Mary Kutty. Wth a supportive subordinate he indulges in crass jokes, while revealing the highhandedness of the police force. George is brilliant.  

As for people around, they are visible in the gazes averted, hushed whispers and references of ‘ee Sadhanam’ (this thing) when Mary Kutty walks amidst them. 

One scene stayed with me-the moment when Mary Kutty needs to use the loo and she does not know whether to enter the male or  female  room- she eventually walks into the one meant for disabled persons.

‘Nyan Mary Kutty’ breaks out of the mould of Indian cinema stereotypes and a film that finds a place in history. Tip my hat to Sankar and Jayasurya.  

Will this bring home another national award for Jayasurya like it did for Kannada actor Sanchari Vijay for his portrayal of a transgender in the film ‘Naan Avanalla Avalu (I am a He not a She)?

‘Naachiyar’: A tough police officer gets justice for a young man implicated in the rape of a minor

By Mythily Ramachandran

Tamil director Bala’s new film, ‘Naachiyaar’ is a clear departure from his earlier films that were synonymous with tragedy. It’s a solid film that bolsters its innately compelling narrative with stand -out performances by the three lead actors- Jyotika in the titular role of a no nonsense police officer Naachiyar; G.V. Prakash a poor fruit vendor Kaathu, who is framed in the rape of minor and newcomer Ivana as Arasi, a domestic maid in love with Kaathu. And, this love story told against a police investigation leaves you smiling- a first with a Bala film.   

‘Naachiyar’ though pegged around lovers Kaathu and Arasi, also dwells on the career of an upright and tough police officer, Naachiyar, who does not rest until justice is done to Arasi.

The love story of Arasi and Kaathu is set rolling with a  ten rupee note that Arasi owes Kaathu during an auto ride. Their subsequent meetings are told humorously as Bala builds the relationship between the two teenagers. One thing leads to another and Arasi is pregnant.

Nachiyaar is a much dreaded police officer known for her tough handling of culprits. But inside this mother of two girls, there lurks a compassionate woman who begins to care for Arasi. Unrelenting in her search for the man responsible for Arasi’s condition, Jyotika strides tall as Nachiyar. Holding back no punches, it’s a power packed performance that Jyotika delivers.    

Music composer turned actor G.V. Prakash who started his acting career as the jilted lover in ‘Darling’ is barely recognisable. Under director Bala, Prakash putty like transforms completely into the simpleton that Kaathu is. With this role that is far away from his earlier lover boy characters, Prakash raises the bar for himself with a breakout performance. He completely owns Kaathu.

New comer Ivana plays the perfect tango to Prakash. Pregnant with a child, her Arasi comes with a playful  streak and a maturity in which Kaathu finds compassion. Good humour accompanies the scenes between Kaathu and Arasi and generates a nice onscreen chemistry-the tenderness in their love is tangible almost. 

Interwoven into this investigation are few nice moments, like the Muslim wedding scenes. The supporting cast deserves mention-producer cum actor Rockline Venkatesh plays Naachiyaar’s colleague; the young actors playing the juvenile criminals who bully Kaathu at the remand home show talent and the actor playing Kaathu is not easily forgotten.

This Bala film clearly wins with a magnanimous lesson on true love.    

Mayanadhi- This mystic river directed by Aashiq Abu carries a beautifully made romantic thriller

‘Mayaanadhi,’ written by scenarists duo Syam Pushkaran  and Dileesh Nair is directed by Aashiq Abu. Cradled inside this crime thriller is a romantic drama. Many love stories have been narrated. ‘Mayaanadhi’ is a compelling watch with its exquisite writing and top notch performances of all the actors, I repeat all. 

Mathan (Tovino Thomas) a driver for a gang that deals with counterfeit currency is on the run after he accidentally kills a policeman. Close at Mathan’s  heels are a team of three policemen from Tamil Nadu. He decides to escape to Dubai but before that he meets up with Appu, (Aishwarya Lexmi) the woman he loves immensely.

Mathan’s idea of a dream life is sharing it with his beloved Appu in a beautiful home and with pups for company. That’s our first introduction to him. We only hear him talking. Whetting our appetite further is his friend’s reply-‘You are always talking about the future.’ Mathan replies-‘Because I screwed my past and the present.’

There is no hurry in the story telling. Little by little we peek into their past while observing them in the present.
Mathan arrives in Kochi to meet Appu, an aspiring actress juggling between auditions for that big break and doing ad films on the side. Appu is at a roadside eatery waiting for her order. Hungry and irritated with his presence, Appu retorts with a tight slap on his face when he asks her-“Is there hope in our relationship?

Bringing in characters from the fringe of their lives, the canvas becomes an interesting watch. Appu’s widowed mother who still believes in their rich past reveals her snob attitude during a family wedding, when she pushes Appu into emceeing the event-insisting that she speak in English; the chechi (elder sister) who shares accommodation with Appu and always has something to lament over; Sameera, Appu’s friend, a glamorous star who passes on the gown she wore for an event to Appu; the counselor friend (Darshana Rajendran) helping Sameera deal with depression.

Every character is finely crafted and the actors with their spontaneous performance bring them alive onscreen and convincingly.

Mathan, an engineering college drop-out, he began making money as an admission broker and later joined a gang. Belying his tough exterior, Mathan is a little boy at heart who craves for Appu’s love. And when on the run, he seeks refuge under his old boss, who is not happy as he has turned over a new leaf.

Tovino Thomas is splendid. He infuses Mathan with a child like charm. Not one to lag behind, Aishwarya Lexmi matches him for every step. Their onscreen chemistry roars. The emotions are profound. Aishwarya Lexmi deftly conveys Appu’s insecurity and her confidence too with a finesse seldom seen in newcomers.

Tamil actors, Ilavarasu as the Tamil Nadu police officer is at his best. Harish, who has been mostly playing negative characters that are loud and dagger- happy is a junior police officer here. His subtle performance is commendable. Look out for Lijo Pellisery, Soubin Shahir and Basil Joseph in amusing cameos.  

Several moments stay with you. The scene with the three friends, Appu, Darshana and Sameera bonding over wine is one. Darshana’s rendering of ‘Bavra Mann’ (a song from Hazaaron Khwaishein Aisi) is a beautiful poetry under the night sky.

Captain: Jayasurya carries this poignant tale of an unsung hero on his shoulders-a tribute to late V.P. Satyan

By Mythily Ramachandran              

‘Captain’ is the story of a man who loved football beyond himself- so intense was his love for the game, that unheeding his coach’s advice, V.P. Satyan of Kerala Police continued playing in a match despite an injured foot. And, dismissing the agony of his foot, Satyan brought glory to Kerala with the Santosh Trophy- a cup that had been eluding the state for the past nineteen years. Journalist turned director Prajesh Sen scores a goal on his maiden attempt.

‘Captain’ is told in a non-linear narration. Sen takes viewers back and forth  through Satyan’s life. Beginning with a match in 1999 in Kathmandu, where Satyan missed a penalty shot, Sen  brings us back to Pallavaram station in Chennai where Satyan met his end on the railway tracks. The outstanding football player who led India nine times became a depressed man when unable to play football-his first love as he claimed always to wife Anitha.
Satyan grew up in Kannur where he found his first love-he picked up a pair of discarded shoes to play football. An injury during his childhood days never healed, accompanying him through life. From a much  feared key player in the local clubs, Satyan’s rise in the football arena is laid out.  

‘Captain’ is also the story of Anitha, Satyan’s wife. She never wanted to marry a football player in the first place and disliked policemen too. After declining his proposal initially, Anitha finds love in Satyan and the devoted wife quits her engineering studies to support his passion for football.

Jayasurya throws himself completely into the role and in the gifted actor’s hands, Satyan is an ordinary man with his own weaknesses. Anu Sithara is pitch perfect, complementing Jayasurya’s performance. And you feel for the man who battled suicidal tendencies. More so for the widow and the daughter, who are left behind. Did football kill Satyan?

Mention must be made of the good performance by the supporting actors-Siddique as a crazy football lover and Satyan’s well-wisher; Renji Panicker as Satyan’s coach; Janardhanan as the Chief Minister whose encouragement went a long way for Satyan and Saiju Kurup as the arrogant senior police officer who humiliates Satyan.