Action Hero Biju – Nivin Pauly is excellent in a complex portrait of a policeman

bijuAction Hero Biju’s title leads you to think that it’s a cartoon type cop story, maybe something over the top like Singham.  What it is, is really a surprise — a complex story of what it would really feel like to ride along with Sub-Inspector Biju Palouse throughout his day.  From the rare exciting chase down of a criminal, to acting as a sort of family court judge in mundane every day issues.

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Nivin Pauly is just fantastic as Biju.  He is what I guess is equivalent to the police captain of his station.  He deals with lots of small issues himself, as judge and jury.   When a young girl is bitten by a dog — a dog sent to attack her by a rich jerk — Biju is on the case.  He nabs the guy, and humiliates him, not bowing to the pressure of politicians trying to get him to ignore the case.  It’s glorious to watch.

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When a young woman comes in because she’d worked for 50 days for a company and only received the 1000 rupee advance.  Biju calls in the company owners, and then when they won’t pay the woman, he demands their company paperwork.  Finding a technicality he can charge them with, he then turns on his righteous anger.

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Biju is almost like an Andy Griffith type character,  complete with bumbling deputies who lose their radios and accidentally shoot their guns in the station.   But I wish that he could just solve everything with words like Andy Griffith.

Biju uses discernment, going after the drug dealer plaguing a school, but letting of the kids found with him off after scaring them half to death.  And that’s my main issue with the film.  Nivin Pauly is masterful at dealing with all the people that come before his desk, except he resorts to beating people with a coconut wrapped in a cloth.  He doesn’t just give people tight slaps in the heat of them moment, or roughly throw suspects down as he’s chasing them down.  He uses beating as his judgement and as a scare tactic.  He doesn’t do it in a fit of anger, but just part of his methods.  His anger he can turn off and on, manipulating those brought before his desk.

When a protester comes into his office to talk with about the accusations of beatings, he mocks her and his husband.

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I loved so much about Nivin Pauly’s character Biju in this film.  He was so sweet with his fiance.  And when finally the big action scene comes, he takes on five guys single-handedly in a fantastic fight, complete with big declarative speech.   I loved how the film shows not just the exciting big fight catching the hardened criminal, but all the little moments in his day where he really helped ordinary people in his jurisdiction.

I didn’t recognize all the character actors, but the film’s structure was almost like a series of short stories or short films for each case Biju dealt with.

I have very mixed feelings about this film.  I thought it was a great script and structure, and the acting was fantastic.  This is about as good as I’ve ever seen Nivin Pauly.  It’s great seeing him play a mature character, and not a coming of age story.

But I just can’t get past the police beatings, and how matter of fact they are.  As I said at the beginning, Nivin Pauly’s Biju is no 2 -dimensional cartoon character.  He’s very complex.  He’s a hero, even an action hero, and he serves his constituents well.  He’s certainly not corrupt, but I just wish he didn’t have to beat suspects as a matter of course. It’s precisely because he’s not presented as larger than life.

Beatings aside, this is a very enjoyable film to watch.

Four stars out of five.

Margaret of Don’t Call It Bollywood delves even deeper in her glowing review.

 

 

Ayalum Njanum Thammil – Prithviraj in the story of a young doctor and his mentor

ayalum-njanum-thammil37436Ayalum Njanum Thammil (Between Him and Me) is a 2012 Malayalam film starring Prithviraj as a young doctor and the relationship he has with his mentor and teacher.  It has a tragic romance in it, but the main focus of the film is Prithviraj as Ravi and his first job out of medical school in a rural hospital.

I’m on a bit of a Prithviraj kick at the moment.  I am absolutely amazed that this actor is only 33.  He’s made over 80 films!  He’s just so great in any film that he is in.  He has a worthy actor to play against in Ayalam Njanum Thammil as director and award winning actor Pratep Pothen plays his mentor, Dr. Samuel.  I really loved Pratep Pothen in this role.

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Lal Rose, who also directed Prithviraj in the classic Classmates, uses a similar flashback structure in Ayalam Njanum Thammil that he did in Classmates.  We start in the present day, and Prithviraj is a dedicated doctor at a large city hospital.  He’s brought in to consult on a young girl that needs heart surgery, but he can’t convince the parents to approve the surgery.  He does the surgery anyway, and the girl dies.  A mob forms outside the hospital, and Prithviraj gets a call, and leaves out the back way, but gets in a car accident and vanishes.  His friends and family try to reconstruct where he could have gone, and through the flashbacks we learn about how he became the dedicated to maybe an extreme surgeon he is in the present day.

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His best friend relates how they nearly flunked out of med school together, and even tried to cheat on tests.  They all thought it was a big lark.  Prithviraj’s family is Christian, and he had a long term relationship with his Muslim classmate Sainu (Samvrutha Sunil).

Prithviraj is given an ultimatum by the school dean.  Pay the rest of his tuition bill, or serve as a rural doctor for two years.  He’s confident his father will pay, but his father thinks doing some growing up away from home will be good for him.

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Dr. Samuel (Pratep Pothen) takes Prithviraj (Dr. Ravi) under his wing, and shows Prithviraj just how much he has left to learn in his medical education.  One of my favorite moments comes when Dr. Samuel accidentally calls Dr. Ravi Rahul which is his estranged son’s name, showing that he’s come to think of Prithviraj as a son.  There’s another young woman doctor at the rural hospital, Dr. Supriya (Remya Nambeesan) who becomes his fast friend.

Prithviraj has a run in with a local cop with a car accident that comes back to haunt him later.  His love Sainu is about to be married off by her parents, and Prithviraj has arranged through his friend to meet her back at the medical school to get a registry marriage.  But he’s delayed by helping Dr. Supriya with a touch and go patient.  When he finally starts driving at 3 am, there’s a roadblock and the cop won’t let him through.  How he retaliates against the cop later when the cop has an ill family member is a very tense scene in the movie, and a key moment in his relationship with his mentor, Dr. Samuel.

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I don’t think this movie will go down as one of my favorite Prithviraj performances, but it was very good.  He believably goes from mature competent dedicated super surgeon in present day, to madcap goof off student in the flashbacks.  Prithviraj’s acting carries us through the journey of Dr. Ravi growing as a person and a caring physician.

The ending is not what I would call happy, but more wistful.  It’s not the typical tidy ending one usually expects.

Three and a half stars out of five.

Read Margaret’s review of Ayalam Njanum Thammil on Don’t Call It Bollywood where she compares it to Dr. Kildare.

 

Mumbai Police – Prithviraj’s stunning performance in this film gobsmacked me

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I was absolutely gobsmacked by the amazing performance of Prithviraj in the Malayalam crime mystery drama Mumbai Police.  I had seen Prithviraj in a stellar if unflashy supporting role in the Hindi film Aurangzeb, also as a cop.  Then I saw Classmates as I was told how influential it is in modern Malayalam cinema.  He was very solid also in the romantic drama Ennu Ninte Moideen.  I had been impressed by his body of work, but nothing prepared me for his incredible performance in Mumbai Police.  Essentially, he’s almost playing a double role.

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In the opening scene, Tony (Prithviraj) is driving down an empty street at night in his police jeep.  He is speaking into a phone saying, “I have found the culprit.” in Malayalam and then repeats it in English.  Suddenly a refrigerator falls off a truck in front of him, and he swerves and the jeep rolls over.  The next scene has a bewildered scarred Tony in a car with Farhan who tells Tony he is his best friend.  Tony has lost all his memory, and this fellow cop friend and the doctor are the only people who know that.  Tony was in the middle of the investigation of the murder of a fellow policeman and the political and press pressure is intense for the case to be solved.

Tony doesn’t know who is friend and who is foe.  After Farhan drops him off at his apartment, Tony is attacked by several men, and is stunned that he can quickly dispatch all of them.  He asks his doctor if he can really return to work, and she has him solve a sudoku puzzle.  She explains that before the accident he was “Person A”, and after he lost his memory he is “Person B”.  He may have different likes and preferences as Person B, but all the skills he learned as Person A, any languages he learned, he will still know.  She brings up that Steve Wozniak lost his memory the same way for five weeks after a plane accident.  (All the computers in the film are Macs).

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So, Tony returns to work, bluffing his way through his interactions with subordinates and poring over the investigation notes.  He learns the murder victim was his good friend Aryan, and Tony, Farhan and Aryan were known as the “Mumbai Police” since they had served there together before returning to Kerala.

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The films Memento and Ghajini deal with short term memory loss, but Mumbai Police reminded me more of the old Harrison Ford movie Regarding Henry.  In Regarding Henry, Harrison Ford plays a hard charging lawyer who loses his memory and has almost a complete personality change after being shot.  He’s two different people and his family has to adjust to the “new” Henry.

Tony at first wants to get back to what he was before, but in the course of reinvestigating the murder, he discovers that he was quite the asshole. He was confident and arrogant, with a certain swagger, but his staff walked on eggshells around him waiting for him to explode.  There is a scene where Tony is questioning a possible witness, and grabs the guy’s wife and manhandles her, molesting her in front of everyone.  His female subordinate looks on in complete disgust at his abuse of power.  And we in the audience had been falling for this super competent cop, and then his darkness slaps us in the face.

Gradually, Tony finds that the murder happened from a specific kind of sniper gun from a nearby building to the murder parade ground.  Aryan was about to be decorated with a medal for bravery and his speech is cut short by the bullet to the heart.  Tony was the one who actually deserved the medal, but was letting Aryan take the credit.  Tony’s team lose confidence in him because they can see that he had steered the investigation to protect someone.  And you sense, that maybe it was Tony himself.  But WHY??  It makes no sense!

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The last 20 minutes of the film are shocking.  Yes, the film has been out for three years, but I’m not going to spoil it, in case you, dear reader, have not seen it yet.  I was sitting there with my mouth hanging open.  It’s Six Sense or Crying Game level shocking and I wouldn’t spoil the reveal in those films either.  Prithviraj in those final scenes had a level of acting that was just so beyond anything I had ever seen him do.   He is raw, completely vulnerable and just devastating.

The script of this film is put together like clockwork, written by the team Bobby-Sanjay who also wrote Traffic.  A lot of Indian films can feel like they have slap dash scripts, or maybe had no written script upon filming (ahem), but this was almost like a Hitchcock film in how it was so carefully crafted.  Solid directing by  Rosshan Andrrew, and a nice moody soundtrack.  The supporting players are all good, but none really stood out to me as exceptional.  What is extraordinary is Prithviraj’s performance and he gave his all for this film.  Everyone needs to see this superb tour de force movie.

Four and a half stars out of five, and now one of my all-time favorite Malayalam films.

Only if you’ve already seen the film and know the surprise ending, read the Don’t Call It Bollywood analysis of the film which has tons of spoilers.

Ennu Ninte Moideen – Just as special a Malayalam film as I’d been told it would be

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Over and over, I’ve had the 2015 Malayalam film Ennu Ninte Moideen (Yours Truly Moideen) recommended to me.  It’s an incredible love story starring PrithViraj and Parvarthy.  And it is so incredible because it is a real life story of Moideen and Kanchanamala.

In 2006, director R.S. Vimal interviewed the real Kanchanamala and people who knew Moideen in the half hour long documentary Jalam Kond Murivetaval (or) One Who Was Wounded By Water

Kanchanamal wanted Prithviraj to play Moideen because she thought looked very much like him.

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Ennu Ninte Moideen is the tragic love story of an interfaith couple who were kept separate  by their families for years.  Moideen and Kanchanamala’s fathers were friends and each were land owners in Mukkam, Kerala.  Moideen’s father was a renowned Muslim leader, and Kanchanamala’s family were Hindu.  Kanchanamala and Moideen went to school together as children, but later Kanchanamala went away from her home to attend college.

As she was returning to college from a school vacation, the family car broke down and she was allowed to take the bus back to the college town (something she was normally not allowed to do).  On that bus, Moideen and Kanchanamala’s eyes met, and they fell in love.  It’s an adorable scene in the film.  Moideen sends a book of poetry to Kanchanamala and then they exchange secret letters.

She steals away from the college, and there is a beautiful love song in the rain.

 

In their courtship, Moideen and  Kanchanamala never even touch once.  When their families learn of their romance Moideen’s father throws him out of the house when he won’t go along with an arranged marriage.  Kanchanamala’s brothers and uncles react even more cruelly, and lock her up in the house.  She’s barely allowed to even leave her bedroom.

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They sneak letters to each other, and even come up with their own private language to communicate with each other.

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Moideen becomes a political activist, in opposition to his father’s politics.  He uses the campaign speaker car to speak his love to Kanchanamala.  Moideen’s father attacks him with a sword in the heat of an argument over Kanchanamala, and Kanchanamala’s relatives beat her to try to break her bond with Moideen.

The decades long devotion of Moideen and Kanchanamala would seem impossible to believe and like a fairy tale if it were not based on a real life story.

Finally, they decide to emigrate to America, but then a tragic accident happens.  I thought the director had hyped up what happened for dramatic effect, but the documentary showed the newspaper clippings!

Moideen’s mother has left Moideen’s rigid father in disgust after the sword attack, and she takes Kanchanamala into her home as Moideen’s widow.

Ennu Ninte Moideen is an extraordinary love story.  Tragic and very sad in the end, but still inspiring.  The acting is wondrous both from Prithviraj and Parvarthy.  Luminous soundtrack as well.

The real Kanchanamala criticized the director for changing parts of the story, but for a biopic, I think he was maybe almost too slavish to the true events and could have tightened up the narrative a bit.  Still, a magical romantic film about love that transcends religious and  cultural barriers.

Four stars out of five.

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Neram – I was disappointed in this early Nivin Pauly film

neram-tamil-movie-poster-1The Malayalam film Neram was disappointing for me.  Watching comedy in Indian movies can be very hard for a non-Desi like me.

For the first movie I picked to watch from the big MyIndiaShopping order from Kerala I gifted myself for my birthday, I picked Nivin Pauly’s Neram (Time).  It’s an action-drama-comedy from 2013, and Nazriya Nazim (from Bangalore Days) is his love interest in the film.

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Neram was disappointing and just not very good.  The romance between Nivin and Nazriya is pre-existing, and frankly they had more of a best friends chemistry than romantic.
Nivin borrows money from a loan shark because he’s lost his job and has to pay for his sister’s wedding.  He can’t find a job to pay the loan shark back and on the day payment is due, the packet of money a friend gives him to pay it off gets snatched out of his hand by a mugger.  He has to pay back the loan shark by 5 p.m., thus the Time (Neram) of the title.
So it has bursts of action, and is sort of a farce with all sorts of misunderstandings and close shaves and farcical elements of different robbers scamming each other.  But it just didn’t hold together.
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It’s set in Chennai, so there’s some people speaking Tamil, mainly the bad guys.  There are many misunderstandings and mispronouncing between the Tamil and Malayalam which I guess was meant to be funny.
But since I don’t speak either all that went completely over my head, and the subtitles didn’t help.  (Some films like Happy New Year clue you in to the word play)
Nivin Pauly was just okay, and this is the first movie of his I would say that about him.  It’s from 2013, early in his career, but I did love him in his earlier 2012 film Thattathin Marayathu.  Nazriya is not given a lot to do, and mid-way she gets kidnapped and stuffed in the trunk of a car for the rest of the film.
The editing needed to be snappier and quicker, but the camera work was at least more interesting than most.  It was just meh.  And from Malayalam cinema I’m used to expecting much better than meh.
About half way through, I told my husband it wasn’t that good, and he asked me why I kept watching?  How to explain that the second halves of Indian films can be dramatically different.  The second half did improve, but not enough.
Two and a half stars out of five.

 

1983 – A Sweet Cricket Sports Drama Starring Nivin Pauly

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I’m not a huge sports movie fan, but 1983 was touching and enjoyable.  I also don’t know anything about cricket, but that is no hindrance in watching Nivin Pauly’s love of the game.

The first half of the film shows us Rameshan (Nivin Pauly) as a child obsessed by cricket.  There’s one TV in their small Kerala village and he and his friends are forever changed by India winning its first Cricket World Cup in 1983.  They sneak away from chores and skip homework and studying for tests to play cricket together.

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Nivin hits a girl in the head with an errant cricket ball, and has a wonderful childhood romance.  But she’s good in school and moves on to university, while he is left behind in the village working for his father.  He marries another girl in an arranged marriage, and horrors, she doesn’t even recognize a picture of Sachin!

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In the second half, Nivin still plays club cricket with his old pals, and sees the glimmer of talent in his son.  To the disgust of Nivin’s father, who still thinks cricket is a waste of time, Nivin seeks out coaching for his son.  They take a bus hours away every weekend to the next big town to try for a spot in a sports school.

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I don’t think I’ve ever seen Nivin Pauly play a father, and that was some of my favorite parts of the film.  I also liked his relationship with his wife.  She supports him and stands up for him with his parents.  They don’t have a grand passion, but they work together as a couple.

This movie has the leisurely pace of Malayalam films.  Maybe a little too leisurely at times.  It’s not a surprise that this is the debut feature of the director, fashion photographer Abrid Shine.  But it’s still an enjoyable watch, and Nivin Pauly, as usual is great.  1983 is beautifully shot, and even though I’m a no-nothing with cricket, I could follow the exciting parts of the cricket games.  It wasn’t confusing to me as it sometimes is.  Sometimes cricket games are filmed in Indian films expecting you to know what is happening, but here I could tell Nivin was good and the way the games were shot highlighted that.

Three and a half stars out of five.  1983 is available for rental on Amazon Video.

Kammatti Paadam -Dulquer Salmaan is the star in this gripping gangster movie, but Vinayakan and Manikandan steal the show

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Kammatti Paadam is a gangster epic. This film has a lot of depth and meat to it.  Dulquer Salmaan was amazing.  I’m admiring his choices of films and roles this past year.  He’s breaking into new ground and showing his acting chops outside the charming romantic lead type.  The poster shows him present day as a salt and pepper haired 42 year old security guard living in Mumbai.  (Yes, we see him doing security for a Bollywood film doing a street shoot!)  Just a touch of gray to his hair and mustache.  And I think he must have gained weight for the role.  He just looked more like his father Mammootty than ever with that substantial thick mustache.
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I looked up during the interval who the director is – Rajeev Ravi.  He’s only directed a few Malayalam films, but he’s worked extensively as a cinematographer in Bollywood, with Anurag Kashyap especially.  He was cinematographer on Bombay Velvet, Gangs of Wasseypur, Dev D, etc.  And key in Malayalam cinema, he was cinematographer for Classmates.  There were some really interesting shots — into plate glass windows, some shaky handheld work during action scenes, etc.  It just was visually interesting and not all straight forward shooting as we sometimes see in Indian film.

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The story is shown in a series of flashbacks after he gets a call in Mumbai from an old friend in Kerala who is in trouble.  Dulquer is Krishnan, a Hindu middle class kid and the name of the movie is the neighborhood he grew up in and the name of his gang.  We see his exposure to violence as a very young child, as he and his best friend Ganga see a local tough kill three men who challenge him.  Then another actor plays Dulquer as a young teen and we see that he has fallen in love with a Dalit girl.  The trouble is, so has Ganga.  Ganga and the whole gang are dalit, and the ringleader is Balan, Ganga’s older brother.  The actor who played Balan was incredible – newcomer Manikandan.

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Balan is played by newcomer Manikandan
We see Krish’s descent into violence as a teenager.  He gives a necklace to Anita, the dalit girl, and another reviewer pointed out that it was an echo of Michael Corleone in Godfather.  I recognized a Nayakan poster in one scene, but evidently there are more references and posters to other Indian gangster films in flashbacks.

Krish is jailed after he saves Ganga from being arrested by slashing a cop with a knife/machete in an impulsive act, ending up killing the cop.

When he gets out of jail, it’s young Dulquer acting the part.  We keep flashing back and forth in the narrative, and we can see present day Dulquer/Krish is injured with a bound torso, trying to keep conscious while riding a bus.

Balan, Ganga and the gang introduce Krish to their current operation — mostly transporting illegal hooch and bootlegging.  They also are hired to run off some poor families who are refusing to sell to a real estate developer.

Balan’s grandfather confronts Balan with his shame that his relative could do this to their relatives and people, and then the grandfather dies of the shock and shame.  This changes Balan and he wants to get out of the business as does Krish.  But they know too much, and a new rival in the organization won’t let things stand.  Balan is killed and Ganga blames Krish for it.

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Ganga, Krish and the gang go after Johnny, the rival and then lay low after the altercation.  Ganga tells Krish that he knows that Krish and Anita love each other but their families will never allow them to marry as it would be intercaste.  He says that he will marry Anita and try to make her happy.  Krish then goes to Mumbai.  The mystery through much of the film is how if Ganga was his romantic rival and “stole” his girl, why would he leave everything to help him and look for him all these years later?

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Vinayakan as the young and older Ganga

The guy who plays Ganga as an adult, Vinayakan was also fantastic.  I just looked him up and he was the villain John in Kali! The director found some great actors, and your sympathies are with the Dalit and how they keep getting screwed.  Their boss goes respectable and becomes a business tycoon in legal liquor and real estate, but the gang are left with nothing.

There is a final revenge scene, and Krish looks out over the city Ernakulam, Kerala.  He says to the person he’s killing that the city was built on the thick black blood of the Dalit people.  And then I realized that the idyllic country place from the childhood scenes, to the motley semi-rural shacks in the young men section to then the present day bustling city were all the same place.  And the point of the movie was that this vibrant young new city was built on the Dalit community being dispossessed and they did it for quick money to their own community.  That was probably obvious to the Kerala audience but I didn’t really get it until the end.

The women in the movie didn’t have much to do, much like many gangster pics.  One interesting note was that Balan’s wife seemed to have become a don herself after his death (and more successful.)  She assists Krish to find the answers at the end.  And there is an unrequited romance for Krish, and a whisper of a song motif for them, but no full fledged song numbers at all.  It was very much parallel cinema.  I’m guessing it’s much like Gangs of Wasseypur (which I haven’t seen yet), Kerala version.

Krish is our entre to their world, but he’s more a witness to what happens to the Dalit community.  He’s still middle-class and Hindu in the end and can move to Mumbai to start over, unlike the rest of the gang.

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The film felt long to me, and I wished it had been edited a little tighter.  (The filming ended in March evidently.)  It’s a sprawling gangster epic in the mode of Nayakan, Godfather, Casino, etc.  It’s not my favorite type of film.  So, so violent.  Shockingly violent in several parts.  The acting was great, but it’s a story of brothers of circumstance if not of blood or caste.   It’s the story of Ganga and Balan, and also Krish.

I admire this movie very much, but it’s not something I want to see over and over again.  It’s just very dark and violent and searing.  It was hard to see Dulquer be so violent in Kali, and this is even steps beyond that.  It’s not a silly action Masala movie.  He does the action scenes well, but he’s not a hero.

I thought we were seeing Dulquer play an adult in Kali, but this film shows him really, truly coming of age.  I’m excited to see him take on that mantle, and looking forward to see what roles he’ll take on next.

Four stars out of five.

New Poster for Dulquer Salmaan’s Kammattipaadam

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Dulquer Salmaan just posted this new poster for Kammattipaadam on his Facebook page.

You know what I love about these young Malayalam stars?  They put out a movie every couple of months!!  Just when I’m thinking — Gee, I wish there was a new Dulquer movie, there’s one about to come out!  May 20 is the release date in Kerala.  Hopefully we’ll get it in Chicago.

Here’s another poster with a different look:

 

Kammattipaadam, directed by national-award winner Rajeev Ravi.will evidently be a period drama.

 

 

Innale – a classic Malayalam film gem

With strong recommendations from my Quora answer, and also Margaret of Don’tCalllItBollywood, I watched the Malayalam 1990 classic film Innale  [Yesterday] this weekend.  It’s available on ErosNow.com.

Margaret promised a cozy movie to watch, and it was.  This classic film gem, by director  P. Padmarajan came out in 1990.  It stars Shobana as the victim of a bus accident in a pouring rain storm.  She is found half dead on a river bank by some villagers who steal her bangles and jewelry before they take her to get help.

When she regains consciousness, she has no memory of her past, or even her name.  Sarath, the son of her doctor, is the hospital administrator and he calls her Maya for expediency.  She is the sole survivor of the accident, and it is presumed her family died in the accident.  She recognizes none of the photographs of the dead.  They post her picture in the paper, but only get imposters trying to claim her.

Sarath gives her the a guest cottage on his family property and a maid servant, and even sets her up with a teaching job at the local school.  And, he’s falling under young Maya’s spell.  At one point, Sarath is driving Maya and the Tracy Chapman song For My Lover was playing on the radio of the car.  It took me right back to that time in the late 80’s/early 90’s when she was so popular, and the song choice was particularly poignant.

T’d climb a mountain if I had to
And risk my life so I could have you
You, you, you…

….

For my lover for my lover

I follow my heart
And leave my head to ponder
Deep in this love
No man can shake

 

Shobana was absolutely luminous in this film.  She was the best actor in the whole film, and I was so impressed with her.  I’m very much looking forward to seeing her film Manichitrathazhu now, which also stars my second favorite actor of Innale – Suresh Gopi.

Jayaram as Sarath, the young man who falls for the amnesia victim Maya was fine, and sweet.  But after the interval we are introduced to Maya’s husband, returned from the US to try to find her.

Suresh Gopi as Dr. Narendran, Maya/Gauri’s bereft husband, had not very much screen time, but he was exceptionally good and has a deep impact.  We see his loneliness and grief, and a glimmer of hope that his wife may have survived the bus crash.  Through several flashbacks we see how happy he and his wife were in their brief marriage.

This is what Indian cinema does so well.  Set up for the audience these dilemmas.  We don’t know who to root for, as our heart is tugged both ways.  Maya is blissfully happy with Sarath, but we see how happy she was with Dr. Narendran in her past.  Suresh Gopi just broke my heart at the end of the film.

It’s like Kuch Kuch Hota Hai with Shahrukh and Salman in that final wedding scene.  So much crying!!

 

Or Hum Dil De Chuke Sanam with Aish, Salman and Ajay.  Team Ajay all the way!

 

I loved Innale, scratchy old film print and all.  Four stars out of five.  Suresh Gopi co-stars with Shobana in Manichitrathazhu , which makes me look forward to it even more.

Traffic (2011) Film Review – the start of Malayalam New Wave Cinema

Rajesh Pillai‘s Malayam film Traffic (2011) is a hyperlink movie.  We get small glimpses into the lives of several characters, and learn over the course of the film how they are all connected to each other.  DontCallitBollywood has a great discussion of what hyperlink movies are, and analysis of this film.  Because of her writeup, I decided to check out this movie, that was also recommended many times on the Quora post.

Traffic was also evidently a seminal movie in the New Wave Cinema or Next Generation movement in Malayalam cinema because of its urban setting, vs. the traditional rural village, and young fresh faces outside of the star system.

Traffic most reminds me of the hyperlink Hollywood film Crash, which also touched on serious urban themes and issues.

 

Traffic, as you can imagine, starts with a traffic accident, and then backs up the narrative a bit to fill us in on the characters involved.  We have a young man who is starting his first day on the job as a journalist off to interview a big movie star.  A young woman being followed by some rowdies on motorbikes.  The victim of the crash goes into a coma, and the doctors bring up a young thirteen year old girl, who desperately needs a heart transplant.  And that’s the hook of the film.  Getting that heart on a two hour drive through various towns and urban populated areas.

We flashback and learn about a police officer who has been disgraced by a bribe.  He volunteers to drive the heart to try to redeem himself in the eyes of his family and neighbors.  There’s the police commander who thinks it just can’t be done, and then coordinates all the road closures necessary from a command center.  And most importantly we learn about a movie star on the day of his premiere — it turns out to be his daughter who is very ill.  The young journalist  is set to interview this star, and he has a romance with a young divorced woman.

It’s quite unusual to see a young divorcee in Indian films, and that is one of the key plot points that signifies this film as New Wave.  The filmmakers set out to make a quite different film.

I loved the glimpses into the life of the Malayalam movie star.  We see flashbacks of him being too busy for his family, and my favorite scene of the whole movie is when he is being interviewed on the radio while his daughter and wife roll their eyes at his answers.  The daughter hands the interviewer a paper with some questions — “What is the name of my daughter’s favorite teacher?  Who is her best friend?”  And so on because she knows that will trip him up.

The second half of the movie is mostly taken up with the action of  driving that police car at 100 kph or whatever it was to get the heart to the girl on time.  And the action scenes were great.  There’s a big twist right at the interval that had me gasp out loud.  It really shocked me what one character did when he heard some awful news.  And what he’s going to do next sets up much of the tension and conflict.

As Margaret points out in her take on Traffic, this is a movie about detours and second chances for many of the characters.  It has a very interesting script, unlike most Indian films, and the action towards the end is very well done.

But my problem with the film is that since there are so many characters, I couldn’t really connect emotionally with any of them.  And I really thought afterwards about why this film seemed to have such a strong reaction in Kerala, but I didn’t feel the same way about it.  And part of it may be that just about every actor in the film I have never seen before.  Only the young journalist, I had seen in Ohm Shanti Oshana.

Hyperlink movies in Hollywood like the silly He’s Just Not That Into You or Valentine’s Day have a bevy of stars and some new actors thrown in.

 

When you have Jennifer Aniston, Ben Affleck and Bradley Cooper in a movie, you know these actors.  There’s a shorthand to their characters, and an instant rapport with the audience.

And I didn’t have that with the actors in the Malayalam Traffic that maybe the Mayali audience did.  So, I give it three and a half stars out of five.  I admire the film, but I didn’t love it.  Rajesh Pillai also directed the Malayalam film Mili, which I also admired for being so female centric, but didn’t love.  Bangalore Days and the Malayalam films that came after Traffic owe a debt to Traffic, but Bangalore Days is the superior film.  Fewer characters, and you get emotionally drawn in to their stories much more.

Interestingly, when I was looking up links for this version of Traffic, I discovered that the same director made a Hindi version of Traffic that is going to be released May 6th!  And here, we have Jimmy Shergill as the police commander and Manoj Bajpayee as the police officer who volunteers to make the drive to redeem himself.  See, I’m instantly in!  Because these actors I already have a relationship with from many, many movies.  The film has the exact same plot, but with action “enhancements” which I’m very curious about.  Same director, Rajesh Pillai, who tragically died earlier this year, so this is his last film.  Instead of driving to Chennai, as in the real life case the movie is based on, the drive is from Pune to Mumbai.