Kumbalangi Nights

Kumbalangi Nights

Kumbalangi Nights finally made it to Melbourne over the weekend, and I was lucky enough to get a ticket for one of the packed out shows in Clayton. Madhu C. Narayanan’s directorial début is a coming of age story, but one where a family grows and matures together rather than simply telling the tale of a single person. With exceptional performances from the entire cast and an unexpected twist at the end, this is a must watch film that hopefully will get a wider release in Australia.

The film begins with Franky (Mathew Thomas), the youngest of four brothers coming home after spending time at a soccer camp. He has a scholarship and is receiving a good education, but he’s ashamed of his poor home and dysfunctional family so he keeps his school friends at a distance. Franky and his two older brothers Saji (Soubin Shahir) and Bobby (Shane Nigam) live in a partially unfinished house at the end of an inlet. It’s definitely not in the best part of town (it’s where trash is dumped), but it still looks to be a pretty spot just at the edge of the water. The house may be rickety but the brothers can navigate home by boat and are able to organise dinner by walking outside and casting a net to catch a fish. The fourth brother Boney (Sreenath Bhasi) doesn’t live with the others, mainly because of incessant fights between Saji and Bobby but Boney has a full-time job and a separate set of friends which may contribute to keeping him away from his brothers.

The story of the family is gradually revealed, but more by small day-to-day actions rather than by any major event. For instance, when Frankie arrives home he’s upset to find an egg shell full of cigarette ash – a sign that his brothers haven’t been cleaning while he’s been away. He’s taken on the role of their absent mother and does most of the cooking and cleaning but his despair at the half-finished state of their house is constant. Boney is seen paddling a canoe over to the house but turns away when he sees Saji and Bobby arguing yet again, while Franky finds a sack of abandoned kittens, proving that they really do live in a dumping ground for unwanted strays. In this way, Narayanan gradually reveals a family in crisis, where Saji seems to be content to live off his partner’s earnings in their ironing business, Bobby wastes his time away lounging around with his best friend Prasanth (Sooraj Pops) and Franky escapes to play soccer with his friends as much as possible.

Meanwhile, across the water, Shammi (Fahadh Faasil) has recently married Simmi (Grace Anthony) and moved in with her, her mother (Ambika Rao) and her sister Baby (Anna Ben). Shammi has a good job and Baby also works in a local hotel while their upmarket house is also used as a home-stay for tourists in the area. Although on the face of it this family seems the total opposite of Franky’s, there is something not quite right – first seen in Shammi’s adamant objection to the local kids playing football on ground outside the house. Fahadh Faasil is wonderfully creepy here, with considered arrogance and a scary smile that he keeps plastered on his face while he asks ever more intrusive questions to his wife and her sister. He’s the quintessential patriarchal male who wants to control everyone in the family and expects them to follow his rigid morality. There are so many small mannerisms that Fahadh Faasil adds that together make up the portrait of a not-very-nice man as he eavesdrops, spys on his guests and makes snide and demeaning comments at every opportune moment. One excellent demonstration is when he uses his razor to remove his wife’s bindi from the mirror in the bathroom showing his toxic masculinity at its most blatant with Shammi even calling himself the ‘complete man’ as he preens his moustache in the mirror. It’s a superb performance throughout and although Shammi isn’t onscreen much in the first half, he always leaves an impression.

Meanwhile, Bobby is in love with Simmi’s sister Baby, but the difference in their social status is huge, and the gap in their personal goals appears even more vast. Bobby is content to spend his days drinking and smoking, while Baby has a much more upwardly mobile mindset. However the romance is a realistic portrayal of a relationship trying to span the social divide and there are some beautifully written scenes here too.  Baby persuades Bobby to get a job, which he hates, but he’s determined to stick it out as the only way he’s ever likely to persuade her family to consent to their marriage. Shane Nigam and Anna Ben are delightful here with each perfectly complementing the other and reacting exactly as would be expected to each new problem. Initially Bobby asks his friend why would anyone buy a tea shop just to get tea, when Prasanth reveals he’s planning to marry his girlfriend Sumisha (Riya Saira), but when he falls in love with Bobby he gradually changes his point of view. Realistically, it’s not an instant change, but one that feels plausible given the development of their relationship. Sooraj Pops and Riya Saira provide the perfect contrast too since although Prasanth is just as job shy as Bobby, he has more get up and go, while Sumisha has the confidence Baby lacks.

Syam Pushkaran wrote the screenplay, and as in Maheshinte Prathikaaram (the only other film of his I’ve seen ….so far!), he uses a mixture of comedy and drama to underpin a story that gets to the basic heart of a society and the social constructs that define what makes someone a good person. Saji is argumentative and hot-tempered, but does want the best for his family. When his friend Murugan (Ramesh Thilak) is killed, Saji takes in his widow and her young baby proving that is heart is in the right place, even if sometimes he forgets to listen to it. This is a beautifully nuanced performance by Soubin Shahir and there are moments of absolute brilliance as Saji has to come to terms with the consequences of his actions. So much is not said, but rather is shown by his mannerisms and the way he deals with every set-back and put down. Shane Nigam too does an excellent job with his role, and his Bobby is the quintessential slacker who realises he needs to change his ways or he will lose the woman he loves. The question is whether or not that’s a strong enough incentive, particularly since Bobby has no strong role model to follow.

My absolute favourite though is Grace Anthony as Simmi. There is a real gender divide in the film with the men generally failing to deal with the issues in their lives. The women on the other hand, just get on with things without any drama or fanfare. Simmi initially seems to be just another long-suffering and put upon wife but she has an inner strength and determination that finally breaks out towards the end of the film in a brilliantly written and performed scene. It’s this combination of normal routine life and small moments of drama that makes Kumbalangi Nights such an engrossing and relatable film. Although ultimately it’s the story of Franky’s family and their gradual transformation as different women enter their lives and help to turn them around, it’s also a study of ordinary human behaviour that will ring true for most of us. There is so much more I could write about almost every scene, but I don’t want to give away any more of the plot, so all I can do is advise everyone to go see the movie!

This is a beautifully told story and Shyju Khalid adds the finishing touches with good use of the camera to capture both the beauty and the ugliness in this small area of Kerala. Sushin Shyam’s music fits perfectly and every single member of the cast plays their role as if it was one they were born to fill. The only odd note comes at the end where the plot takes a sudden turn, but it’s still so well executed that even this doesn’t seem all that out of place. I loved this film and highly recommend watching Kumbalangi Nights for a simply great little slice of life in small town Kerala.

 

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Maheshinte Prathikaaram

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Maheshinte Prathikaaram is the début film from Dileesh Pothan, who has previously worked as an actor and as an assistant director on a number of Malayalam films. The experience has stood him in good stead as Maheshinte Prathikaaram is a well-crafted and entertaining film with a good balance of drama, comedy and romance. Screenwriter Syam Pushkaran has based the story on true events in his home town, building a simple tale of revenge into a more complex plot with plenty of interesting characters and situations. Fahadh Faasil stars and is excellent in the lead role, but the support cast are also good and with Shyju Khalid’s superb cinematography and Bijibal’s steady hand on the music, Maheshinte Prathikaaram is well worth a watch.

Mahesh Bhavan (Fahadh Faasil) is a photographer in Kattappana where most of his work involves taking passport photographs with a well-rehearsed spiel, although he does occasionally attend weddings and funerals and other such functions too. He’s a generally happy bloke, if rather quiet and somewhat set in his ways, possibly because he lives with his ageing father Vincent (K.L. Antony Kochi). Fahadh Faasil is always excellent as an ‘average bloke’ and his performance here perfectly captures the day to day life of a small-town businessman with plenty of details that ensure the character has plenty of charm. It’s the small touches that resonate so well, such as his bathing in the river, feeding his dog or fishing pieces of egg shell out of the bowl when he is cooking. Mahesh is a well-developed character and as such it’s easy to understand why he behaves the way he does for most of the film.

Mahesh is in love with his childhood sweetheart Soumaya (Anusree), but due to her job they only meet occasionally. When Soumaya returns home for her grandfather’s funeral her father approaches her with a marriage offer from an NRI living in Canada. He has a good argument too – presenting the offer to Soumaya when she is washing clothes the old-fashioned way and asking her if she wants to stay in the same town all her life, or if she would prefer a more comfortable life overseas. Soumaya’s indecision is beautifully written and it’s obviously a difficult choice for her, but finally she decides to follow her head rather than her heart and end her long-standing relationship with Mahesh. There is much here to enjoy, from the way Soumaya realistically agonises over what to do and her method of finally breaking the news to Mahesh, to Mahesh’s stoic acceptance, his appearance at the wedding to reassure Soumaya and his despair when alone. The relationship and the two characters are well portrayed to ensure the situation is kept believable but light without dipping into melodrama.

At the same time, Mahesh is dealing with the day-to-day running of the studio, helped by his father and his friend Baby Chettan (Alencier Ley Lopez). Baby runs a printing shop adjacent to the photography studio and has a good relationship with both Mahesh and his father. Baby is assisted by Crispin, aka Crispy (Soubin Shahir) and between them Baby and Crispy share most of the comedic dialogue in the film, although the rest of the cast also add some humour as the story progresses. Thankfully, instead of relying on slapstick and crude jokes, the comedic dialogue here is often subtle and relies on the characterisations carefully built up in the preceding scenes for its full effect, while overall the comedy fits perfectly into the main narrative. It’s effective and genuinely funny too, although I suspect I still missed a lot due to relying on the subtitles.

Events become more serious when Mahesh is involved in a fight with Jimson Augustine (Sujith Shankar) and loses badly. The build up to the fight is one of the best scenes in the film, as is the end where, in a move to save face, Mahesh vows to stop wearing his chappals until he has revenged himself on Jimson. However by the time Mahesh discovers exactly who is his nemesis and that he works as a welder, Jimson has moved on to Dubai for work. Rather than back down however, Mahesh continues to go barefoot, although there are times when it looks as if he regrets his vow, particularly when there doesn’t seem to be much chance that he will achieve his objective of revenge any time soon.

Mahesh also takes a hit professionally as his attempt to take a studio photograph for university student Jimsy (Aparna Balamurali) is less than successful with Jimsy ridiculing his work. However, her comments inspire Mahesh to stretch his photographic skills and in the process, he falls in love with Jimsy too.

Although initially the character of Jimsy is irritatingly brattish, she redeems herself later, turning out to be a pleasant young woman with a good understanding of how to nudge Mahesh out of his comfort zone. She’s frank and unafraid to speak her mind, and Aparna does a good job of ensuring her occasionally prickly character is still friendly and approachable when appropriate. She’s good in the more romantic scenes too, although here again her character is refreshingly down to earth and pragmatic. Plus any film with a flashmob scene wins my approval!

The entire concept of the fight and Mahesh swearing not to wear shoes until he has his revenge seems incredibly juvenile to me, but I can see that Mahesh feels his masculinity has been questioned by his defeat. Mahesh is not a natural fighter and has never been in trouble before, so his resolution to beat Jimson does make sense, even if the concept of a rematch seems a fairly pointless way to demonstrate he can fight. Sensibly, he responds by taking karate lessons and although they may not help much when it comes to fighting Jimson, at least it gives Mahesh something to do while he waits for his nemesis to return. I love that Jimsy and her mother appear to have the same opinion as me about the potential rematch, while Baby Chetan and Crispy are rather more encouraging, although they too try to persuade Mahesh to start wearing shoes and forget all about Jimson.

Maheshinte Prathikaaran

The story flows well and the blend of comedy, romance and drama ensure that there is never a dull moment. The film looks beautiful too with gorgeous shots of the Idukki region and local wild-life, even on the rainy days which seem to be the most common.

The songs and background music are also well suited to the narrative, adding more light and shade to the story. With excellent performances from all of the cast, particularly Fahadh Faasil and Alencir Ley Lopez, and a funny but still insightful screenplay, Maheshinte Prathikaaram is a refreshingly different and thoroughly enjoyable movie. 4 stars

Chaappa Kurish

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Chaappa Kurish tells the story of two men: one a successful land developer who lives in a smart uptown apartment and the other a slum-dweller who works as a cleaner in a small supermarket. It seems unlikely that their lives would ever intersect, but when Arjun (Fahadh Faasil)) loses his phone and Ansari (Vineeth Sreenivasan) picks it up, their lives intertwine in an unexpected way with unintended consequences. Sameer Thahir’s debut film is a study in power relationships and how even a small amount of advantage can alter outlook, change relationships and even affect personality. While one man starts to gain control the other begins to lose it and the fall-out has far reaching effects for both.

The film opens by contrasting the lives of the two men. Arjun is woken in his modern apartment by the ringing of his smart phone and wanders into his spotless kitchen to have cereal for breakfast. Ansari also has a phone, but his is an old-fashioned mobile and his single room is a long way from Arjun’s luxurious apartment. He sleeps with his mattress on top of his shirt to press it for the morning, and has to pay and queue for his turn in a shared toilet. Breakfast for Ansari is a roti in a local café and his journey to work by bus and ferry is vastly different from Arjun’s smooth ride in the back of his chauffeur driven car. Their relative positions define their personality too. Ansari is quiet, pushed around by everyone who comes into contact with him and unable to stand up for himself. He walks apologetically – hunched over and hesitant, and he doesn’t meet anyone’s eyes even when they are talking to him. Arjun on the other hand is autocratic, demanding and very well aware that he is the boss.

Although Arjun is engaged to be married to the daughter of a family friend, he is also in a relationship with a work colleague Sonia (Ramya Nambeeshan). Sonia is a modern working woman who seems to be in control of her life but despite her apparent comfort with her relationship with Arjun, she is devastated when she discovers he is engaged and is organising his wedding. Her despair and sense of betrayal is made even greater when she discovers that Arjun has filmed the two of them together on his phone during their lovemaking session. Sonia has lost her lover and her self-respect in an instant and seems likely to lose her job too, all as a result of Arjun’s selfish behaviour. She threatens to tell his fiancée Ann (Roma) about their relationship and it’s during the resultant argument that Arjun loses his phone. As well as the video, Arjun’s phone contains details about his latest dodgy property deal and it’s a toss-up as to which concerns him more – the loss of the deal or the possibility that the video might make it onto Youtube.

Ansari picks up Arjun’s phone when it falls at his feet in a café, and in the spur of the moment decides to keep it. He has little idea of how to operate the phone and is frightened by Arjun’s demands for his phone’s return when he does turn it on. However slowly as Ansari realises Arjun’s desperation, he starts to feel the effects that holding even such a small amount of power can bring. His new found confidence spurs Ansari on to pay back his various tormentors but it also affects his relationship with his co-worker Nafeesa (Niveda Thomas). She doesn’t like the new Ansari and eventually persuades him that he has to return the phone – but it may already be too late.

Sameer Thahir’s story is simple but very effective as he takes time to establish his two main characters and how they each fit into their place in society. The contrast in the two men is well described and the characterisations of each are natural and realistic, while still maintaining their differences as each are at opposite ends of the social scale. The gradual transfer of power is subtly done but very effective and the alteration in each character occurs almost imperceptibly at first. Although the story is at times very dark, there is a strong sense of hope that runs throughout, mainly shown by Nafeesa who is the one bright spot in Ansari’s life and by the end it seems possible that both men have altered for the better. It’s a film that gradually draws you into Arjun and Ansari’s struggle for control while at the same time showing exactly how difficult life can be for those who lack confidence.

Both Fahadh Faasil and Vineeth Sreenivasan are excellent and their performances ensure the effectiveness of Sameer Thahir’s story . Vineeth Sreenivasan does a fantastic job with his portrayal of a downtrodden man who slowly starts to gain some confidence. His body language and demeanour is perfect throughout and his facial expressions brilliantly capture his thoughts. Ansari is a man who has had little to hide in his life and he lets his emotions play out over his face when he thinks no-one is looking. The furtive sullen looks gradually make way for sly grins and rising excitement when Ansari realises the power he has over Arjun and that finally he can tell someone else what to do. Everything just works to build up a detailed picture of a lonely underdog who has a miserable life but no real motivation to change anything and no awareness that change is even possible.

Fahadh Faasil is just as good in his role as a rich and conceited businessman who rarely thinks of anyone other than himself. His fiancée is an inconvenience and he avoids her phone calls whenever possible – although given how inane and annoying she is; I can understand his reluctance. Sonia is beautiful and convenient since she works with him and he initially treats her distress as an annoyance, until his friend John (Jinu Joseph) manages to get through to him just how much more Sonia has to lose if the video becomes public. It’s a classic picture of a self-absorbed jerk, but what makes Fahadh Faasil’s performance so good is the way he gradually changes and shows Arjun’s desperation so clearly. The realisation of what he is about to lose and his absolute frustration with the situation is excellently shown while his fraying grip on his composure is perfectly done.

The rest of the cast are good too. Ramya Nambeeshan doesn’t have a lot to do, but her outrage and then absolute despair are nicely portrayed and she is good as a woman brought to the very edge by emotional upheaval. Jinu Joseph and Niveda Thomas provide the stability and act as the ‘voice of reason’ to the two main protagonists while Sunil Sukhada brings a good dose of oily sleaziness to his role as the Store Manager of the supermarket where Ansari works.

Rex Vijayan’s soundtrack is excellent and this song is beautiful. The picturisation here isn’t the same as in the film where it’s shown over Arjun’s search for Ansari and his phone, but this does give a good overview of the film and the main characters.

There are a number of things I really liked about Chaappa Kurdish. The many differences between the two men are well characterised without being too clichéd and provide a revealing look at society in general. The slow shift in the balance of power is nicely done, even if in real life I don’t think Ansari would have have been quite so brave. I also like that Sonia has some resolution and that having a physical relationship with her boyfriend doesn’t mean that she is automatically a ‘fallen woman’ with no possible options. With all the positives there are only a few negatives. The climax is repetitive and goes on for too long – a shorter, sharper resolution would have helped and I would have liked a little more of Nafeesa and her relationship with Ansari. Overall, Chaappa Kurdish is an excellent début film from Sameer Thahir and definitely well worth a watch. 4 stars.