Maheshinte Prathikaaram

maheshinte-prathikaaram-poster

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

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Chaappa Kurish

chaappa-kurish

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.

Bangalore Days

Bangalore Days

Bangalore Days is a gem of a film, written and directed by Anjali Menon, who was also responsible for the excellent Ustad Hotel. The film follows the lives of three cousins after they each move to Bangalore for different reasons and despite the almost three hour run time, it’s a completely absorbing watch. The young actors are the highlight, but the plot for each is perfectly developed and fits neatly into the overall story, so that there is a ‘fly on the wall’ feeling of watching real lives unfold. Even the slightly clichéd drama that forms the final climax is compelling, although the ending is never really in any doubt. Beautifully developed characterisations, a clever storyline and gorgeous cinematography all add up to make Bangalore Days a must watch film.

The three cousins, Krishnan PP aka Kuttan (Nivin Pauly), Divya (Nazriya Nazim and Arjun (Dulquer Salmaan) have been friends since they were children when they spent their summers together in the family’s ancestral home. Divya is a good student who has dreams of completing an MBA while Kuttan achieves his desire of escaping rural Kerala when he lands a job as a software engineer in Bangalore. Meanwhile Arjun seems content to drift, working at night as a graffiti artist and using his mechanical skills to work on motorbikes. As the film unfolds, more of Arjun’s past comes to light, including his unhappy childhood following his parents’ divorce. All of this has made him something of a rebel and disinclined to settle in any one spot or profession.

Divya’s parents decide to get her married quickly to counteract an inauspicious horoscope, firmly ending her dreams of study although the prospect of moving to Bangalore after the marriage is an enticing incentive. But things don’t appear too favourable when the prospective groom Das (Farhadh Faasil), reveals he was in a previous serious relationship and isn’t sure if he is over it. Divya’s main reason for going ahead seems to be the family dog’s acceptance of Das, and to be fair, I can completely understand her reasoning. Surely anyone who is a dog-lover cannot be a bad person? Throughout the film Anjali Menon small touches like this to successfully develop the characters and illustrate small traits that become important later. It’s simply done, but very effective and adds to the realistic feel of the characters.

The songs by Gopi Sundar are another highlight and this one sums up the different personalities and the relationship between the cousins perfectly.

Needless to say when Divya moves to Bangalore  with her new husband the situation does not improve and it’s not long before she is bored and resentful. Luckily Arjun has also moved to Bangalore to complete the confluence of cousins and is working for a Motocross bike team. With her husband’s indifference as motivation, Divya spends her days and nights out with Arjun and Kuttan, further increasing the distance between her and Das.

At the same time Kuttan has found what may be the love of his life in the form of air hostess Meenakshi (Isha Talwar). Although it’s completely baffling as to why she would be interested in the conservative Kuttan, she quickly takes him in hand, giving him a total make-over in the process. As to be expected, it doesn’t end well, but there is some lovely comedy and genuine warmth in the relationship which allows Kuttan to explore his less conservative side. Arjun is also in love, first of all with the voice of RJ Sarah (Paravathy Menon) and her positivity, but this quickly develops further once he sees her in person. There is a lovely moment where, after Sarah accuses Arjun of following her, which to be accurate is exactly what he has been doing, he eventually responds that rather than following, he would like to walk with her. It’s very sweet and the relationship between Arjun and Sarah develops into a full scale romance with plenty of sparkage between the characters.

What makes the film work so well is the excellent casting and the outstanding performances from all the actors. Nazriya Nazim is perfect in her role and even more impressive here than she was in Raja Rani. Her reactions and emotions are perfectly nuanced and her easy camaraderie with her cousins is well portrayed. Farhadh Faasil is also excellent as her distant husband with an unresolved past and his emotional delivery as his character gradually thaws is superb. Perhaps because the two actors are partners in real life, the depiction of their marriage is also very well done and the relationship is completely believable throughout.

Even better though is Dulquer Salmaan who gets his portrayal of a rather bitter but still compassionate man spot on. His relationship with his cousins is perfectly casual with plenty of chemistry that really makes them seem like a family. His expressions and body language speak more than the dialogue when he is with Sarah and he makes Arjun a more sympathetic character than I expected given his opening montage.  Dulquer’s character is well written but his performance takes it to the next level and I think this is the best I have seen him so far. Nivin Pauly has a more difficult job since Kuttan is self-restrained, almost staid and nowhere near as exciting as Arjun. However he still does a fantastic job with the character, particularly in the interactions with his father (Vijayaraghavan) and mother (Kalpana), both of whom are also excellent and perfectly cast. There are many levels to his character and to his relationship with both his cousins and the rest of his family that I don’t think I fully appreciated on my first watch, but become more apparent on repeated viewing. Kuttan’s character provides most of the comedy, but his serious nature is a perfect foil to the more impulsive Divya and rebelliousness of Arjun.

Although the film focuses on relationships, family, community and the three love stories, there is plenty more happening in the background. The film interposes the traditional values of rural India with the reality of modern city life, starting with the idea that community is lost in the city. However the complexities of this idea are further developed as Divya makes her own community wherever she goes, while Das carries his loneliness around with him as a shield. All the characters are looking for their own form of escape, some more literally than others, and all have personal challenges to overcome before reaching their goal. Anjali Menon develops the narrative through the different personalities and their attitudes, allowing the characters themselves to become the story and relegating the action to second place for much of the film.  It works beautifully well and it’s refreshing to have a film about marriage and relationships that is ultimately so optimistic and hopeful. Bangalore Days is an easy film to enjoy and I thoroughly recommend it as a modern tale of relationships. 4 ½ stars.