Kammatipaadam

Kammatipaadam

Rajeev Ravi’s 2016 film Kammatipaadam is a dark thriller that tells the story of an ex-gang member’s search for his estranged best friend, who has disappeared under suspicious circumstances. It’s also a stark social commentary, as the film documents the urbanisation of a rural area and shows how poor farmers were forced out to make way for high rises and shopping malls for the rich. P. Balachandran’s screenplay explores the violent world of the gangs and the harsh realities of life for the marginalised poor while adding mystery and suspense with the search for the missing Ganga. Although Dulquer Salmaan is excellent in the lead role, the film really belongs to Vinayakan and Manikandan Achari who are both outstanding as the missing Ganga and his gangster brother Balan. While the film is overlong at almost 3 hours, this is an excellent slice of gangster life, Kerala style, and impresses with a realistic, brutal storyline and gritty memorable characters.

The film starts with an injured middle-aged Krishnan (Dulquer Salmaan) flagging down a bus somewhere in Kerala. In a series of flashbacks, intercut with current events, he remembers his childhood and his life as a young man in the fields of Kammatipaadam before they vanished under the high-rises of Kochi. Krishnan and Ganga’s friendship is gradually revealed in an intricate and detailed story, painting a vivid picture of life for the poorest and most marginalised members of society, but also describing a rich and deep friendship that is enough to draw Krishnan from his settled life in Mumbai back to the dangers of his youth.

The scenes describing Krishnan’s early life are detailed and set the scene to explain why later, despite everything that has happened between them, Krishnan still responds to Ganga’s call for help. When Krishnan’s father (P. Balachandran) moves the family to Kammatipaadam, young Krishnan and Ganga become inseparable friends despite their different backgrounds – Ganga comes from a Dalit family, while Krishnan’s family are middle class and generally appear better off. However, caste is no barrier to the two boys and although Krishna’s older sister (Muthumani) seems appalled by the friendship, Krishnan’s father doesn’t seem to have any real issues with his son’s relationship with the local Dalit community. Ultimately though, it’s Ganga whose influence takes Krishnan away from his family and leads him into a life of crime.

As children, the boys witness a brutal killing when Ganga’s elder brother Balan (Manikandan R Achari) attempts to murder a local thug. This seems to set them on the path of rowdyism and as they grow older, they become part of Balan’s gang, doing odd jobs and fighting as required. What makes this part of the film so watchable is the persona of Balan. He’s charismatic and outspoken with a larger than life personality and an almost theatrical approach to defending his place in the local underworld. There is an awesome fight scene outside a movie theatre where Balan fights everyone before leaping up on a car to sell movie tickets – making his entire performance a brash advertising stunt as well as driving away his rivals in the business!

Balan runs an illegal alcohol business with local entrepreneur Ashan aka Surendran (Anil Nedumangad) Both Ganga and Krishnan eagerly join in with Krishnan acting as a driver for the smugglers. However not everyone is a fan of Balan’s style and Johnny (Shine Tom Chacko), a rival for the smuggling trade, sets out to bring Balan and his gang down.

While all this is going on there is another rivalry developing closer to home. Almost since their first meeting, Krishnan and Anitha (Shaun Romy) have fallen in love, but Ganga expects to marry his cousin and resents her attachment to Krishnan. Ganga’s path seems easier after Krishnan is sent to jail for attacking a police officer, but this is only a temporary hiccup and the two reconnect on Krishnan’s release. Dulquher and Shaun Romy have good chemistry at the start, but it’s the change to their relationship when they meet again years later that really impresses. Anitha reveals her resentment at the way Krishnan and Ganga treated her as a commodity while Krishnan has to deal with his memories and regrets. Unfortunately, Rajeev Ravi doesn’t go back to this part of Krishnan’s story, so we’re left to wonder what will become of Anitha who seems to be the loser in every respect.

Balan and his gang act as enforcers, and one of their jobs is to evict farmers from areas where the developers want to build. They don’t even seem to notice when their own land starts to be fenced off, but when Balan’s grandfather objects to his family being involved in pushing other Dalits off the land, Balan sees the error of his ways and decides to ‘retire’ from his life of crime. Balan has also become married to Rosamma (Amalda Liz)) but before he can settle down, Balan is killed and Ganga blames his childhood friend for his brother’s death. This is the final straw for Ganga and it leads to the estrangement between the two men.

However, when he is in trouble, Ganga calls his old friend, sparking Krishnan’s return to Kammatipaadam to find out what has happened.  As Krishnan searches for Ganga he is forced to face his past and come to terms with the bleakness of his friend’s life after Balan’s death. While members of the gang like Majeed (Vijay Kumar) have prospered, Ganga is still living in the past and involved in the seedy underbelly of Ernakulam. The mystery deepens when Krishnan himself is attacked and it seems as if no-one else wants to know what has happened to Ganga.

Kammatipaadam is a study of characters and each is so realistic and well-drawn that it’s easy to become involved in their lives and care about what happens to them. The film spans roughly thirty years and I was amazed at how successfully Dulquer shows his character’s aging in his mannerisms, gait and stance. As a young man, he is arrogant and cocky, with a confidence that shows in his walk and his dialogues. But when he returns to Kammatipaadam, he’s older, moves more slowly and stiffly and to some degree, thinks before he speaks. He really gets into the heart of Krishnan and his friendship with Ganga comes alive onscreen, while the small glances and covert looks are enough to convey the entirety of his romance with Anitha. However as good as Dulquer is, he is equalled by Vinayakan who puts his heart and soul into his portrayal of Ganga. Here there is loyalty and devotion. Here too, a poor man who makes his living exploiting other poor men and pisses away the profit with his drinking problem. Manikandan R Achari is also superb as Balan with his loud brash exterior hiding a man capable of greater understanding but without the wherewithal to allow his dreams free rein. These are the petty gangsters who so often make up the fodder in the big herocentric films, but this time the story is about them and their short and violent lives. The actors who portray the young Krishnan and Ganga are also excellent with Shalu Rahim in particular setting up Krishna very well for Dulquer Salmaan to smoothly take over as the character matures. But even the young kids at the start are fantastic, and again have all the same characteristics as their older selves.

The minor characters all have their own brief story arc that adds layers of complexity to the film. Krishnan’s father has his own issues, illustrated perfectly when he goes to pick up his son from prison but leaves empty-handed. Even Rosamma, Balan’s wife and surely an inconsequential character in most other gangster films, has a greater role to play than expected and turns out to be a better gangster than her husband or her brother-in-law. The story of Ganga’s disappearance and Krishnan’s search is simply the top layer that sits over the excellent character studies and underlying thread of the exploitation and eviction of the Dalits. The film also looks amazing, with excellent cinematography from Madhu Neelakantan although I would expect nothing less from Rajeev Ravi given his own work as a cinematographer in Hindi cinema. The songs too are interesting, with references to the plight of the Dalits and their lack of a permanent and safe place to live while Krishna Kumar’s background score is unobtrusive but effective in adding to the overall richness of the film.

However all of this depth of characterisation and attention to detail comes with a price. The film is overlong and does drag in places, particularly in the second half. A fight scene in the prison and one in a bus station are overly drawn out and the build up to the final scene is rather indulgent. Still, the film succeeds at drawing a picture of the violent and desperate side of life as a small time gangster, and the brilliant performances and characterisations ensure that Kammatipaadam is a film that stays with you long after the end credits roll. Fascinating, thought-provoking and a lesson in the birth of Kochi all in one – 4 stars.

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Thirakkatha

 

Ranjith’s Thirakkatha is supposedly inspired by the relationship between Srividya and Kamal Haasan. I have zero interest in the love lives of celebrities but this is also a thoughtful look at the film industry, it’s a reasonably sane romantic drama except when it isn’t, and Priyamani steals the show.

Warning, spoilers ahead! There are some things that struck me so hard I don’t want to omit them.

Young gun director Akbar Ahmed (Prithviraj) is awarded for his first film hitting 100 days. He is given a trophy by industry legend Ajayachandran (Anoop Menon). Ajay’s internal monologue is all about himself and how he fought the odds to become a star. Certainly judging by some of the chatter amongst other guests, he is not universally loved. Akki is inspired to make his next film on the story of Ajay and his ex-wife, the star actress Malavika (Priyamani). She hasn’t been seen in years and nobody really knows much about her, despite all the gossip. Akki obtains diaries and letters written by director Aby Kurivilla (Ranjith himself) from his son Appu (Vineeth Kumar), and starts to piece their story together from both the private and public sources. The film unfolds through a series of flashbacks, interspersed with Akki telling the story as he knows it to his crew. When it seems that a story is all they have, they locate Malavika. Now terminally ill and alone, her life is a far cry from Ajay’s success and acclaim. What happened, and why?

Anoop Menon had to battle with some unflattering wigs and 80s attire that did an excellent job of obscuring his alleged charms, but Ajay’s determination is loud and clear. His break came playing a villain opposite Malavika and some producer’s nondescript son. He fell for Malavika at first sight, his heightened emotions helping him deliver a convincing performance. Whether shyly flirting with Malavika or pushing his career agenda, he didn’t back down when reminded of what people saw as his place. Ajay is obsessed with success and Malu was a lucky charm for his films. After a secret registry office wedding, Malu fell pregnant and planned to stop acting and be a mum. Ajay had been in a string of flops and was relying on Malu’s box office pull for their next movie to rescue his career. He told her she was ruining his life in favour of an unborn child and persuaded her to have an abortion, triggering events that ended their marriage. When Ajayachandran finds out about the movie, he tries to divert Akki to making a film with him rather than about him. Even Ajay’s wife thinks he’s a selfish bastard. Ajayachandran’s father was a makeup artist and people are snide about his lowly beginnings even now he is a legend. He became a big hero, but sometimes petty villain seems more his calling. Anoop Menon is most convincing as the selfish Ajay with his ambition and inferiority complex driving him. He benefits from a kind of halo effect in scenes with Priyamani, but seems lacking in the emotionally complex moments.

Malavika is a reluctant star, with a pushy ex-star stage mum (Mallika Sukumaran) and a loyal, almost silent assistant, Valarmathi (Surabhi). She’d rather get a job after graduating, but her mum hit Malu with a guilt trip of how she had to dance on film to raise her family and now the alcoholic dad is gone there is no money. Malavika is an assertive girl with everyone but her mother. I like the way she firmly shooed Ajayachandran away when she needed a moment between scenes. The flashbacks show all the drama behind the scenes as well as the vintage acting and dance styles of the early 80s.

Priyamani is just gorgeous, deftly showing Malavika’s star quality (the camera loves her), and her more pragmatic everyday personality. She berated Ajay for learning to kiss from watching local films, cheerfully telling him classic French films were the best reference. I loved Malu’s confidence in herself and her growing understanding of her power in the film industry. She has a drink with a producer but when he makes a pass she is comfortable and articulate turning him down. She doesn’t want to change who she is and she won’t be pressured or made to feel ashamed. Priyamani’s performance kept me invested in the story through even the most melodramatic plot contortions.

Major spoiler(s) – highlight to read:

Malu is told that during the abortion they found a growth that had to be removed. Later on her doctor friend Vasanthi tells her that Ajay lied – He requested that her tubes be tied so she won’t fall pregnant. It turns out this is not exactly true but that did nothing to quell my outrage. Firstly, bullying her into an abortion when she clearly wanted the child – BAD. Not telling Malu about the medical situation and not getting her consent or allowing her to have any part of the decision – BAD. Persuading the doctor to keep a cancer diagnosis from Malu so she would make another film instead of perhaps getting treatment that may have saved her life – BAD. Ajay believing that he was right because he wanted her to be happy and she would be happy when he was happy and he would be happy when he was a big star – BAD. Akki bringing Malavika to his place to recuperate although she didn’t know him at all, which is a nice gesture but once again there was no consultation with the actual patient, so therefore – BAD. The doctor who let Akki take a terminally ill stranger away just because – BAD. Everyone including Malavika apparently forgiving Ajay because he felt so sorry (for himself) – WTAF?!?

/rant

Ranjith is disparaging of some practices in his industry, calling out examples and mocking the results. Akki is very much the guy who got there because of his passion for film making. He’ll sign with a producer but he won’t let them dictate what he does. The line between life and story fodder is also explored through Akki as he grows closer to Malavika and has to decide how and if he will use her story for his career.

Prithviraj is low key and generally likeable as Akki. He is hampered a bit by the narrative structure that uses his character as an agent of voiceover, and from being in the modern day part of the story which is for me the least interesting. He works with a small group of trusted friends, running a restaurant with them in between films. Akki is prone to the unilateral decision, and most of his friends are followers. I was sometimes annoyed despite his good intentions just because he was so self-righteous. Akki and his capable girlfriend Devayani (Samvrutha Sunil) have a no fuss relationship and make a nice couple. As Malu and Ajay’s romance is explored, they realise maybe they need to think about theirs.

The songs (by Sharreth) fit better in the flashback. Onnodu is a random and quite uncoordinated song between prologue and titles, perhaps just there for the Prithviraj fans.

There is so much that I liked, but the flaws are equally striking. Some of the discussions about film making felt out of synch, but I liked the extra layer about interpretation and storytelling. Ranjith handled the multiple timeline structure more deftly in Paleri Manikyam, but the 80s flashback section is a highlight. 3 ½ stars! (BIG deduction for the medical ethics)

Traffic (2011)

Traffic

When it first released in 2011, Rajesh Pillai’s Traffic was hailed as a new genre in Malayalam cinema and one of the first so-called ‘New Generation’ films. Bobby and Sanjay’s story doesn’t have a traditional heroic-centric plot, but instead uses a collection of everyday characters and a combination of a non-linear first half with a more traditional road movie in the second to come up with a novel action/drama. Despite the more Western style, this is still a very Indian film with references to wide-spread corruption, the power of celebrity and the chaotic nature of the Indian road system at the heart of the story. Interestingly, the film is based on real-life events in Chennai which are referenced in the film, proving that real life is often more dramatic than fiction.

Traffic begins with a car crash, then goes back a few weeks to introduce the main characters and the events that lead to their presence at a particular crossroads at 8.50am on 16th September. First there is Siddharth Shankar (Rahman), a movie star who has little time for his family, wife Shruti (Lena) and daughter Priya (Namitha Pramod). Siddharth has people who do things for him and he expects his celebrity status to smooth his way through life which, for the most part, it does. At one point Siddharth is interviewed while his daughter and wife watch, rolling their eyes at his generic answers which suggest he is a devoted family man. But when Priya gives the interviewer questions to ask about herself, Siddharth obviously hasn’t a clue, stopping the shooting and asking Priya for the answer before repeating it on camera. It’s an excellent example of the disconnect between the actor and his family, and illustrates his complete unawareness of the chasm he has allowed to develop between them. It’s not so much arrogance as a simple belief that he is the most important person in any situation, so when later, Siddharth is attempting to throw his weight around and suddenly realises that here is a situation where all his star-power is useless, it’s a major shock to his ego. Particularly when combined with a few home-truths from his wife in a rousing dialogue where she finally points out his shortcomings and failures as a father. Shruti has some of the best dialogues in the film and Lena does an excellent job in portraying her emotional upheavals as the story unfolds.

Secondly there is Reehan (Vineeth Sreenivasan), who has just scored the job of a journalist at TV station Indiavision and is scheduled to interview Siddharth on the day of the accident. Reehan has some issues with his doctor father (Saikumar) but seems to be finally finding his place in the world with his new job. He has a girlfriend Aditi (Sandhya) who is looking for her second chance at happiness with Reehan. The two seem very much in love although her recently divorced status and different religion mean that Reehan hasn’t told his parents about their relationship. All in all, they are a regular family and their reactions when disaster strikes seem completely normal, even down to Reehan’s mother obsessively replaying the last video she took of her son before his big interview. That interview was rescheduled by Siddharth and to make it in time Reehan asks his friend Rajiv (Asif Ali) to take him in to the studio on the back of his bike. As a result, they both reach the intersection in time for the accident.

Dr Abel (Kunchacko Boban) is a cardiac surgeon driving to pick up a new car for his wife Shwetha’s (Remya Nambeesan) birthday. Abel seems happy and contented with his life, and it seems coincidence that his route to the car show room takes him along the road to the intersection where the accident occurs. It’s not until later in the film that events in the lead-up to the accident become significant and explain his subsequent actions as he escorts a donor heart from Kochi to Palakkad.

Finally, there is traffic policeman Sudevan (Sreenivasan) who is about to restart work after a suspension for taking a bribe. Ironically, he himself has to pay off an official to get his job back and Sudevan is exquisitely aware of the irony of his position. He initially took the bribe to pay for his daughter’s education, but is upset and disappointed that she has little time for her father, preferring to spend time with her friends. It’s a fairly typical teenage situation, but for Sudevan who is smarting under his suspension, her lack of empathy with his sacrifice cuts deep. Sudevan too is on the road at the time of the accident with his wife (Reena Basheer) on his bike, but Sudevan’s involvement comes later when he gets the chance to redeem his reputation if he can pull off the drive of his life.

After the accident one of the casualties is left in a coma and not expected to survive. There is an ethical dilemma to overcome as the victim’s heart may be transplanted and used to save a life, but only if the family agrees. Naturally, there is plenty of drama as the family want to wait until the very last minute, even though there is no hope for recovery. On the other hand, the doctors know that time is critical and they need an answer as soon as possible if they are to have any chance to donate the victim’s heart.

Then there is the issue of getting the heart from Kochi to Palakkad, a distance of 180km with only 2 hours to make the journey over congested roads. Police Commissioner Ajmal Nazar (Anoop Menon) has to weigh up the risks to his men as they attempt to reach the hospital in time with the benefit of saving a life and racking up some good PR for his department. In the end, it’s head surgeon Dr Simon D’Souza (Jose Prakash) who manages to convince the Commissioner that he has the choice to make history if he can accomplish the journey. Obviously, a convincing argument as Ajmal uses it on his men too, with the result that Sudevan steps up to drive the heart and Dr Abel to the hospital in Palakkad.

From here on it would seem to be smooth sailing, bar some excitement as the car tries to traverse roads that weren’t built for speed or easy overtaking. But there are more unresolved issues that mean the car goes AWOL en route and the final outcome remains in doubt almost up to the final frame. Rajesh Pillai succeeds in keeping the tension mounting with the search for the missing vehicle and continues to build suspense even after the car is found, as the delay means that they may not reach the hospital in time.

The hyperlink approach of the first half reveals snippets of each character, establishing some sense of their personality and giving an explanation of why they are on the road at the time of the accident. Jumping from one character to another also sets up the foundation for various links between the characters that are revealed as the story progresses. Despite the piecemeal approach, the relationships are all well-defined and the very normalness of the characters ensures they are relatable and generally understandable in their subsequent actions. In fact, the only part of the story that seems overly contrived is the reason for Sudevan and his vehicle to drop out of contact but that is balanced by the use of Siddharth’s star status to get his fans to help with clearing the roads – a nice touch that seems entirely plausible and works well as a result.

The road trip follows a more linear storyline with a relatively predictable path, although Rajesh Pillai does generate thrills by adding crowded streets and poor road conditions to the mix. There are some flashback sequences that break up the journey too and keep the story from dragging. However, the end is quite abrupt and sadly not all the stories get a conclusion, notably the fate of the young woman who caused the crash in the first place and the outcome for Dr Abel and his wife. However, the resolution for Siddharth and Sudevan is nicely done and the idea of redemption through being given a second chance is explored well. I also don’t think it’s necessary that all the stories are brought to a final conclusion – this is more of a brief snapshot into the lives of a group of strangers and as such not everything needs have a clear-cut ending.

The attention to detail in the parallel stories at the start ensures the film gets off to a good start and the good mix of believable drama, well-portrayed emotion and plausible action keeps it engaging throughout. It’s a major plus that so many of the women are strong characters- Shruti, Aditi (and yay that her divorced status isn’t a major issue, just part of her backstory) and Fathima Babu as Reehan’s mother. The rest of the cast are all excellent in their roles and the background music from Mejo Joseph and Samson Kottoor suits the screenplay well. There are only a few songs and while they aren’t terribly memorable themselves, they are used well in the narrative giving more insight into some of the relationships and characters. Subsequent films have further developed the New Generation genre but Traffic still has plenty to recommend it and well deserves its reputation as a trend-setter. 3 ½ stars.