Film Review:

Cast: Mohanlal, Sukumari, Jagathy Sreekumar, Manoj K Jayan, Nedumudi Venu, Saikumar, Kochupreman
Direction: Ashok R. Nath
Production: V.R. Das, V. Mohanlal
Music : Dakshinamoorthy


In an era when cinema is all about slapsticks, violence and vulgarity, 'Mizhikal Sakshi' by Ashok R Nath is a good reminder that cinema can be much more. This feel-good movie while raising several pertinent issues lets you walk out the theatre, with something to think about.

The movie tells a tale of a mute mother, who finds it hard to come into terms with the fact that her only son is convicted as a terrorist and is sent to gallows. She, after a long journey in search of her son, finally lands up in a temple premises where food is offered free, everyday. She becomes popular in the area as Kuniyamma, doing necessary cleaning and allied works in the temple environment. But all havoc break loose when someone finds that she is not a Hindu and is the mother of a revolutionary, who is supposed to have planted a bomb on a moving train, killing hundreds. The story does get interesting till the post-interval portions. But the sequence of events then follows the beaten path, till the climax which has its share of appeal.

The narration is simple, yet captivating. The director has used flashbacks to tell the story, using the discussions of an officer on investigation, Aditya Varma, as the tool to move the story ahead. The highlight of the movie is that it's extremely realistic for most of the times and looks straight out of life. And that being the USP of this grim tale, it's also a downer considering that the viewer of today is just not interested in watching a drama that's too realistic.

But as a movie that appeals more too serious audiences, director Ashok has deftly handled the script. He had maintained throughout, a monotonous pace, despite the somewhat predictable plot. Anil Mukhathala, in the scripts have maintained a distinct style and crisp dialogues with reasonable food for serious thought.

'Mizhikal Sakshi', presents Sukumari in the role of a life time. The most experienced actress of our times who had never been exposed to such meaty roles gives in a power house performance through her subtle act, all through the sequences. She emotes through eyes on several occasions- a hallmark of an accomplished actor. It is a difficult to think of any other actress who would've essayed this complex role with such sincerity. Mohanlal aptly supports Sukumari with an effective cameo, for which he can be proud of. Hats off to the star for agreeing to be a part of the movie, or else the film may not have seen the light. Another actor who made it his best is Kochupreman who had been first rate as Chollu Swamy.

Ashok has also been able to bring out the best from his technical crew, be it in much picturesque and emotive cinematography by Ramachandra Babu or in editing by Beena paul. Another highlight of the movie is the musical scores by veteran Dakshinamoorthy in the lyrics of O N V Kurup. Of all the four good songs set by Swamy for the movie, 'Chethiyum' and ‘Thazhampoo' are real gems, which arose nostalgia of our good old film music. Kaithapram Viswanath also ably supports the director with his skillfully done background scores.

All in all, ‘Mizhikal Sakshi’ is a memorable fare, which doesn't disguise itself as a high class entertainer. Have a watch, to witness some of the finest performances from one of our best known actress. The movie may well be remembered, more for Sukumari’s bravura performance than for the experience in totality!

Film Review:

Cast: Prithviraj, Bhama, Mammootty, Thilakan, Jagathy Sreekumar, Salim Kumar, Kalabhavan Mani, Prachot, Jagadish, Suraj Venjaramood, Govindan Kutty, Balachandran Chullikad
Direction: Bipin Prabhakar


Fans associations had been always crucial in ensuring an awesome opening for those movies, which star their favorite on screen demigods. Especially in Mollywood, stars and their fans share an unique and interesting relationship .What director Bibin Prabhakar was trying to explore through his movie ‘One Way Ticket' was this interesting relationship between a superstar and his fan, which ultimately results in the star making some important amendments in the life of his fan. But mishmash in plot points, the culmination to the story and the note on which the film ends mars the impact of the film completely, making it an average fare.

The movie has Prithviraj as Jehangir, the district president of Mammootty fans association. Popularly called by the name Kunjapoo, he is the third rank holder in Plus two examinations. He was forced to become a taxi jeep driver, due to the dismal financial conditions of his family consisting of three sisters and widowed mother, for whom he was the only savior. Kunjappoo had made it a point to harass his uncle Bava Haji, by projecting stories about his love with Bava Haji's daughter Sajira and spreading false stories about his plans to marry her. But Haji is hell bend on bringing up some proposal to keep Kunjappo away from his daughter. His trusted aides broker Sakath Beeran (Salim Kumar) and Kanakkapillai Salahudeen (Jagadheesh) is always up to something in this direction.

Kunjapoo accidentally falls for a girl, who comes for an 'Oppana' dance at one of his friend's marriage. Mislead about her as ‘Rasiya’, he tries to track her whereabouts. This news comes as a big relief to Bava Haji, who immediately reaches Rasiya’s house and officially announce her relation with Kunjapoo and plans for the marriage. But later Kunjappo realizes that it was another girl named Sunanda (Bhama) whom he mistook as Rasiya, while agreeing for the marriage. Kunjappoo turns away from the deal and Bava Haji is now forced to marry off his only son with Rasiya.

Sunanda on the other hand, has her share of problems. His venomous uncle Karunakaran Ezhuttachan (Thilakan) is hatching plans to get her agree to marry his widower son (Nishanth Sagar), and thus seize her huge family fortune. Even though Kunjappoo and Sunanda part ways initially, they cross each other's path at regular intervals, try to find solace in others' arms.

And ultimately Kunjapoo is destined to become the savior of the girl, whose father has already been murdered and her mother, at the verge of another fatal disease. How Kunjaapoo works out plans to save her with the help of the real superstar, whom he admires, forms the plot the film. The film has a freeflow till the half way with rollicking comedy from Jagathy, Salimkumar and Jaffer Idukki. But thereafter the story comes to a screeching halt and starts focusing on the romantic side than the story of fanships and ends up without fireworks as an ordinary fare.

The second hour drags and the climax would've been better, realistic to be precise. The final reels has been extremely pathetic with wayward screenplay coupled with plastic performances .The poor treatment of the script in the final reels, written without any attention to details ruins the chances of an other wise safer movie. A fine-tuned performance from Prithviraj saves the film from becoming a much bigger dud. He plays his part, particularly the lighter comic sequences with amazing timing and ease.

In fact, the actor has graduated to a natural actor to the core, handling the most complex scenes with flourish. The other silver lining in the film is the presence of Mammootty who does an eventful cameo, which couldn't raise the expected applause. Bhama, as the love interest, has some significance in the beginning, but she is totally lost by the end of the film. Thilakan as Bhama's uncle fails to evoke the necessary villainy, with the director trying to dismantle the flashback sequences and present the story only through dialogues. Jagathy Sreekumar essays Radhika's father, Bava Hajyar to perfection. Salim Kumar, Jagadheesh and Jaffer Idukki handle the comic department proficiently

But the technical side remains average with even cinematographer Vipin Mohan’s work, so tailor-made with old fashioned wide shots. The background score by Raja Mani is jarring. Except for a couple of songs including the oppana song, the music by Raahul Raj is not up to mark. Ranjan Abraham also fails to sustain the interest, with the needed sharp cuts in the later half.

‘One Way Ticket’ is too ordinary a ticket for a fare that doesn’t leave any impression whatsoever. On the whole, it meets the expectations partly. At the box-office too, the film will end up as an average earner .See it once, if you have the time and inclination.

FILM NEWS

Another Fruitful year for Malayalam Cinema.

Malayalam cinema has done itself proud by winning not only an enviable number, but also a few of the cream of the 54th National Film Awards which were announced in New Delhi on Tuesday.

Priyanandanan’s ‘Pulijanmam’ is selected as the best feature film.




Priyamani was adjudged as the best female actor for her role in the Tamil film ‘Paruthiveeran,’ it is as much a recognition for Kerala as Malayalam cinema too played a major role in putting her through her paces.


Tilakan was adjusted for Spl.Jury Award.




Nedumudi Venu has been enriching not only the film world, but also the theatre. It is the manner in which he renders dialogues, the pregnant pauses which he makes, the timbre of his voice and the overall mellifluousness of his style which came to the filmgoers mind when his narration (commentary) in the short film ‘Minukku’ was adjudged as the best.


The selection of Major Ravi’s ‘Keerthi Chakra.’ , film as one of the best two on national integration comes as the icing on the cake.

FILM NEWS

Malayalam cinema has done itself proud by winning not only an enviable number, but also a few of the cream of the 54th National Film Awards which were announced in New Delhi on Tuesday.

The selection of Priyanandanan’s ‘Pulijanmam’ as the best feature film is probably the highest honour to come the Malayalam tinsel world’s way this time. Should the director of the best film be adjudged as the best director as well or should another person be selected for that honour has been and still is the subject of a heated debate. Whatever is the outcome of that debate, Malayali film lovers are certain to consider Priyanandanan also as the best director, in addition to Madhur Bhandarkar.

Film fans missed a heart beat when veteran actor Tilakan missed the national best actor award by a whisker. They heaved a sigh of relief only when the jury decided to make a special mention for his acting in ‘Ekantham.’ Madhu Kaithapram, the director of the film, also shared the award for the best debut film maker. M.P. Sukumaran Nair brought in more laurels when his film ‘Drishtantham’ was declared the best Malayalam film.

It was only after Kamal wove a touching story around a Tamil family that the people started taking a closer look at the “Karutha Pakshikal” who can be seen ironing clothes here, collecting discarded items there or doing some other odd job somewhere else. Mammootty had done an excellent piece of acting in the film and there were many who thought that he would get away with the State if not the national award. Many were disappointed when he did not, but the selection of the film as the best one with social content came as a big relief. Mohanlal, the other uncrowned king of Malayalam cinema had given one of his best performances in Major Ravi’s ‘Keerthi Chakra.’ The selection of that film as one of the best two on national integration comes as the icing on the cake.

Nedumudi Venu has been enriching not only the film world, but also the theatre. It is the manner in which he renders dialogues, the pregnant pauses which he makes, the timbre of his voice and the overall mellifluousness of his style which came to the filmgoers mind when his narration (commentary) in the short film ‘Minukku’ was adjudged as the best. Though Priyamani was adjudged as the best female actor for her role in the Tamil film ‘Paruthiveeran,’ it is as much a recognition for Kerala as Malayalam cinema too played a major role in putting her through her paces.

‘Matter of pride’

Chief Minister V.S. Achuthanandan described the national awards won by Malayalam cinema as a matter of pride for all Malayalis. In an official press note, he said that it was a certificate of the quality of Malayalam films. He wanted those concerned to make use of the opportunity to avoid controversies and disputes and come together for promoting good cinema. He congratulated Priyanandanan over phone.

FILM NEWS

This Thursday was marked with frenzied drama in Mollywood circles. The story all started with a popular channel flashing news about the new ban on popular star Dileep, initiated by MACTA, The Malayalam Cine Technicians Association. Within some hours, some other channels also followed suit and mobile phones of the association members began to start ringing without breaks, as all media were after them to enquire about the reasons.

It was then finalized by all trade members that the issue, if real, will initiate the skirmishes between the stars and director's associations and soon will restart the fight between AMMA and MACTA, particularly due to the fact that Dileep is one of the most active member of AMMA and is even in charge of their maiden movie production, ‘Twenty Twenty'.

Within some hours in the late evening, Vinayan, the veteran director and the chairman of MACTA has made it clear that MACTA has only taken up a complaint against superstar Dileep, and has not banned his films. The association has forwarded a complaint from director Thulasidas, to the Association of Malayalam Movie Artistes (AMMA) which alleges that Dileep has backed out from a film even after taking payment of Rs.4 million, four years back.

AMMA president Innocent confirmed said that the MACTA has written to it about this issue. "We will look into the matter and will reply in another two days' time'' said Innocent. Dileep remained silent on the issue and prefers to wait, till a reply from AMMA is out.

The MACTA, registered under the trade unions comprises 18 different sections of Malayalam film industry workers.

FILM NEWS

“It’s like being part of a celebration like Thrissur Pooram,” says actor-producer Dileep on the making of the film ‘Twenty Twenty,’ which will have almost every actor in Mollywood acting in the film. The shoot of the film, directed by Joshiy, is nearing completion and is scheduled for a June-end release.
Fund raiser

Innocent, president of Association of Malayalam Movie Artistes (AMMA), explains that the initiative was launched to raise funds for the organisation. “Although arranging stage shows would have been an easier option, the majority was in favour of a film. We decided to give the responsibility of producing the film to some one who would give the association a fixed amount. Dileep came forward and the project was on,” he says.

However, Innocent points out that creating a story that would give the same importance to all the main heroes was never on the agenda.

“A good story was developed and the members are wholeheartedly supporting the film,” he adds. Echoing Innocent’s sentiments, Dileep says that the decision to make a film involving as many members of AMMA as possible was taken three years back and the shoot started last December.

“It’s a big budget movie and regardless of the fate of the movie at the box office, AMMA will be paid Rs. One crore. I don’t think there has been such an attempt ever in the history of cinema anywhere,” he says.

Director Joshiy agrees that the film is being made on a big canvas. “But for me, it’s the characters that matter more than the star status of those who are performing in the film, as I have worked with most of the actors. It was quite a task to choose a suitable subject. Once that was decided, things started happening more easily and quickly. Since the project involves a lot of actors, it is often difficult to arrange the schedules,” he says.

While Joshiy is a veteran director of many multi-star casts, scenarists Siby K. Thomas and Udayakrishnan find it hard to believe they are part of a team that is going to be a milestone in the history of Malayalam cinema.
“We believe that it’s the closest to winning the Oscar,” gush the scenarists.

“It is history in the making and perhaps the only attempt of its kind. We became conscious of the challenge we had accepted only when we actually started thinking about a possible subject involving all the big names in the Malayalam film industry. We are aware that everything will be put under the scanner – the characters, their place in the storyline and the punch lines in the dialogues.

“So, we decided to opt for a story that would do justice to the actors. At the same time, it is has a gripping and entertaining plot,” say the duo who refuse to divulge anything further.
“The suspense is reserved for the screen,” they chorus.
Mood of celebration

Although the film has no connection with cricket, the title ‘Twenty Twenty,’ like the shorter and exciting version of the game, signifies the pace with which things happen in life. “There is a mood of celebration,” say the scenarists.

‘Twenty Twenty’ has had its own share of surprises and upsets as well, with actors like Nayantara making a comeback of sorts, after a brief hiatus, to Malayalam cinema while reigning actor Meera Jasmine found it difficult to find the required dates for the project.

“Meera was originally paired opposite Dileep and had to shoot for just under a week, but she could not give the dates for the shoot,” says Siby and Udayakrishnan. Innocent, however, refused to comment on the issue.

Quiz the director about the genre of the film and Joshiy smiles: “All I can say now is that ‘Twenty Twenty’ is being packaged to attract every section of the audience. Let them decide on its pluses and minuses once it reaches the screen.”

AMMA Production-Twenty:20, the multi-star cinema is reportedly being planned for a mega-release, in 118 centres, breaking all previous records in Mollywood.

FIlm Review:

Banner: Aascar Films
Cast: Kamal Haasan, Asin, Mallika Sherawath, Jayapradha, Rekha, K R Vijaya, Nagesh, Nepolean, Santhana Bharathi, M S Bhaskar, P Vasu, R Sundarrajan, Ramesh Khanna, Erode Sounder, Pandu
Direction: K S Ravikumar
Production: V Ravichandran
Music: Himesh Reshammiya & Devi Sri Prasad


One striking feature that hits you in the face once you have watched ‘Dasavatharam’ is Kamal Haasan's passion for filmmaking. All the ten roles he has essayed have been meticulously planned right from the body language to dialogue delivery. Be it the American president George Bush, the Vaishnavite priest of the 12th century or Fletcher, the American baddie.

The eyes are considered the most effective tools in creating the right kind of attitude for any actor and Kamal Haasan is a master at that. There are many a time in the film when the audience would have to force themselves to believe that it is the same actor who is the good guy as well as the bad guy.

The expressive and determined eyes of the priest, the mushy and yet funny countenance of Balaram Naidu, the hilarious CBI officer and the peaceful martial artist eyes of the Japanese character have all shaped up to fit into any acting text book. Hats off to Kamal Haasan on the acting front!!

Based loosely on Chaos theory, the narration of the film promises a lot of excitement and as the story unfolds, somewhere down the line there are a few missing links that have been forcefully stitched together. Govind, the bio-scientist in the United States of America has been wronged by his boss who has intentions of selling his invention to wrong hands. The determined scientist doesn't give up. He sneaks it away and after a few accidents the invention lands in India. The hunt and race against time especially with Fletcher, the ex-CIA baddie sniffing at his neck with murderous intent culminates into Govind meeting an irrationally sentimental and at times sweet Andal (Asin). The baddie with sizzling Mallika Sherawat for company proceeds along the vulnerable Indian security system and shows up at the right places at the right time.

The narration then makes sure most of the characters played by Kamal get into close proximity in terms of geography. The stunt sequences are quite professional with its share of thrilling moments, but then there are too many coincidences consistently. The protagonist and his slowly, but surely falling-in-love lady companion seem to be jumping off just about everything. Soft landing seems to be a predictable option at most times.

When it comes to action and stunt scenes, ‘Dasavatharam’ is head and shoulders above most Indian films. The music element in the film is passable with some breathtaking re-recording bits in patches.

Cinematography has been simply awesome. The heavy compositing and trick shots have not dampened Ravi Varman's innate talent at creating the right kind of mood the film depicts.

‘Dasavatharam's’ review can never be complete without talking about the makeup part. Apart from the desired result one can guess the kind of effort and hard work Kamal Haasan would have had to go through just to get them on and that too on a daily basis. Makeup has been good overall except for a few shots that show off a kind of plastic look.

Computer Generated Imagery plays a huge role in the film. When the same actor plays seven feet plus youth and an old woman who is barely five feet, one can imagine the kind of intensive scaling and image manipulation by the CG team. Recreation of the 2004 Tsunami is impressive and the action part weaves the intensity of the story.

The direction has been apt sticking to the script in the true sense of the term. K. S. Ravikumar known for his simple style of narration has not been himself with ‘Dasavatharam’, but has shown sparks of ingenuity.

Kamal Haasan has stuck to his favorite subject of the 'no God' debate in this film too and has glorified himself probably for the first time on screen with a dialogue directed at him as being the 'Ulaga Nayagan'.

With Kamal Haasan playing ten roles, all other actors have been completely overshadowed.


This is a movie that has highlighted a highly talented and passionate actor in his entire splendor. At the end of the film one tends to ask….has Kamal Haasan been so spectacular that he has overshadowed the script and story this time?

Film Review:

Cast: Jayaram, Meena, Divya Unni, Rasika,
Direction: Haridas
Music: Ouseppachan

Jayaram seems to be in a deep turmoil where he just can't hope for a magical movie to give a fresh life to his career. His latest, to add to the list of non starters will be ‘Magic Lamp', the movie which was waiting in the cans for the last seven years. And as expected, this identical individuals' tale definitely give that depressing, silly air of the nineties. This logic-defying, light-hearted comedy (intended) movie seems to be caught in a time warp, which never ever will manage to entertain the viewers of the new millennium.

‘Magic Lamp’ also reminds us that nonsensical film like this, used to be made with unerring frequency in the early nineties, when audiences know exactly what to expect from them. The movie opens with Anupama (Meena), a rich and spoilt girl living in Bangalore, landing up on a photo of a young man, when she happens to drive by. On seeing the photo her two friends identifies the man as two different persons. Anupama who aspires to become an airhostess has just finished her interview and is waiting for her appointment letter. But her rich aristocratic family in Kerala is very much against the decision, as they consider the job below their status.

Having lost her parents at a very early stage, Anupama is take care by an aged grand father (Oduvil Unnikrishanan). Her two uncles always have an eye on her wealth, and they want their respective sons to marry her. The sons Mohana Krishnan (Baiju) a Veterinary doctor and Omana Kuttan (Kottayam Nazeer) an Ayurvedic doctor are also competing with each other for her attention. To escape from marriage she weaves stories, one after another, about her fictitious lover whom she had seen in the photo. Later with the help of Adv Lalan, another lover who is also after her, Anupama keeps unwanted marriage alliances at bay, by another cooked up story about herself as a victim who was molested by the same man at Goa! A search for 'the man' by different persons of the family leads to Sunny Kuruvila (Jayaram), a coach in a women’s College about to be betrothed to Alphonsa (Rasika), to Dr. Nandakumar (Jayaram), married to Viji (Divya Unni) and to Chandrasenan, a macho guy with the twirled up moustache from Peruvannapuram. With this alleged relation with Anupama, each of their families faces unexpected problems.Now Chandrasensn who is toughest one among the three decides to unearth the real problem maker and the reality behind the stories which brings him face to face with Anupama.

Ranjith who is credited with the story has a done to death premise of brothers at war for wealth. The screenplay and dialogues also never rise above the ordinary. And as you watch the drama unfold on the screen, there is this feeling of deja vu in almost every scene, making you remember the likes of Rajasenan’s movies of the nineties.

The first half an hour is really a torture where the director has apparently forgot what quality comedy is all about and made a crass concoction abundantly supplied with plenty of uncomplimentary hints, double entendres and songs. Jayaram tries hard to give a different look and pattern of accents to each of the characters, while Jagathy runs all through the movie, enters every scene with his characteristic demeanor, as he used to be in the films of the nineties.Meena as Anupama is in his usual self, while Rasika and Divya Unni make eye candy appearances in a few scenes.

In delivering a below-par product, director Haridas appears confused throughout, dealing with the different characterizations of mismatched identities, all played of Jayaram. He also has also failed to extract the best out of his technicians. Music by Ouseppachan is average while more atrocious is its BG scores by S SP Venkatesh. The camera work by Vipin Mohan never rises above the pedestrian and the costumes and sets are tasteless and outdated.