Sudani from Nigeria

Sudani from Nigeria

Sudani from Nigeria is the heart-warming début film from director Zakariya Mohammed that released in March this year. On the surface it’s a simple story about a Sevens football team from Kerala but underneath there is a thoughtful exploration of the relationships between each of the characters and an occasionally rose-tinted reaction of the local villagers to a foreigner in their midst. The film is charming and funny, while the idea that differences in language, culture and religion can be overcome with just a little compassion is definitely one worth spreading. Soubin Shahir stars alongside newcomer Samuel Abiola Robinson, but it’s the supporting cast who make the most impact and bring much of the warmth and humour to the film.

Majid (Soubin Shahir) manages a Sevens football team on a shoestring budget, paying the players out of their winnings each week. But since they play in a local league there is barely enough to ensure each player gets a share, let alone provide any money for essentials such as petrol for the team van. Majid doesn’t have any other job either, so he’s reliant on his mother for a roof over his head, although his estranged relationship with his mother’s second husband makes this difficult. Majid refuses to speak to his stepfather (K.T.C. Abdullah) and goes out of his way to avoid meeting him whenever he returns home. This isn’t as often as might be expected since his stepfather doesn’t live at home, but works as a security guard some distance away and stays there during the week. All of this puts a lot of strain on Majid’s mother Jameela (Savithri Sreedharan) who struggles with her son’s attitude and her husband’s absence. Luckily she has her friend Beeyumma (Sarasa Balussery) for company and with their down to earth humour and solid approach to problems, the pair are the heart and soul of the film.

Despite his financial woes, Majid has managed to recruit three African players, all called Sudani by the locals despite none of them actually being from Sudan. Their star striker Samuel Abiola Robinson tries to explain that they are actually from a different African country, which leads to Samuel being called ‘Sudani from Nigeria’, or Sudu for short.

The African players all seem to live together in a small flat in the town and overall the team seems a typical local side, with everyone knowing everyone’s family and all pitching in to keep the side going. Things get complicated when Samuel is injured during an accident, leading to a period of extended bed rest. Majid’s financial problems mean that the team cannot afford to pay for Samuel to stay in hospital, so instead Majid brings Samuel home to his mother and asks Jameela to look after him. Samuel speaks little Malayalam and mainly converses in broken English, while Jameela and Beeyumma don’t speak or understand English at all and only ever speak to Samuel in Malayalam. Nevertheless, a bond grows between Samuel and his carers, while everyone in the village comes around to speak to the injured striker and welcome him into their community.

The film works well due to the gentle mix of comedy and drama, with a slice-of-life approach that suits the simple story. Attention is given to develop all the characters, even those who only have a small role such as the marriage broker, who is arrogant and secure in the knowledge that he has all the power in his transactions with Majid, or the busy nurse in the hospital who berates Majid and his friends for not alerting her to an issue with Samuel’s drip as they are all too busy watching football on their mobile phones. Even though they only brush up against Majid and Samuel for an instant, each of these roles is important and everyone has their own story to tell. Zakariya Mohammed develops the different relationships well and the interactions between the different characters are beautifully written and filmed. It’s all these small details and the interactions between the characters that make the film work – Jameela arranging a ceremony for Samuel when his mother dies, even though she is Muslim and he is Christian, an elderly man demonstrating yoga positions for Samuel and a young couple who come to take a selfie with the foreigner. Each of these scenes feels incredibly real and genuine, while a light touch of humour and the occasional hint of trouble keep the film from ever feeling too saccharine sweet.

Soubin Shahir is excellent as the football-addicted team manager, who has devoted his entire life to football and his team, despite the effects such devotion has had on other aspects of his life. His difficult relationship with his step-father is woven throughout the narrative and provides a jarring but powerful counter note to the friendship that develops between Majid and Samuel. Soubin brings a number of key elements to his character including a certain nerdiness that has left Majid as a football manager rather than a player and star of the field, bashful attempts to find a wife, a constant awareness of his money problems and a determination to look after Samuel even as he ignores his step-father. Samuel Abiola Robinson has a more difficult role in some respects as he literally has little voice in the film, but he still does a good job at making Samuel an empathetic character. Much of this is down to his smile and determination to get back to playing football. There is a flashback to give some understanding of his situation at home, but it’s his bewildered acceptance of Malayalam village traditions that makes the most impact as he tries to cope with Jameela, Beeyumma and the rest of the villagers.

Savithri Sreedharan and Sarasa Balussery are simply brilliant as Majid’s mother and her best friend, and their method of looking after Samuel is hilarious and at the same time very touching. Their mannerisms are perfect for the characters and although they appear as typical village mothers, there is so much more to each that Zakariya cleverly explores with his screenplay and Muhsin Parari’s excellent dialogues. They each bring a mix of comedy, compassion, drama and warmth that works perfectly and provides a solid backbone for the rest of the story. The rest of the support cast are just as good with Navas Vallikkunnu, Ashraf Thangal and Abhiram Pothuval very funny as  Majid’s friends Latheef, Bavakka and Kunjippa and Aneesh Menon as rival football manager Nizar. Together they all form a tight-knit community that all work together despite having few resources to fund their passion.

Cinematographer Shyju Khalid ensures the film looks fantastic and Rex Vijayan’s songs and background music suit the mood, in particular the enthusiastic anthem to football!

The mix of characters, touches of humour and focus on relationships all ensure Sudani from Nigeria is a touch above the usual village-based drama and although the story might not hold any surprises, the film, and particularly the finale definitely draw on the heart strings. Adding football into a Malayalam film was a new thought for me as I hadn’t realised the popularity of the sport in Southern India, but it works well to add action and a dash of excitement too. If you like your sports films to be more about the action off the field, or prefer a novel approach to family and relationships, then this could be the film for you. 4½ stars.

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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

Kali (2016)

Kali

I’ve been looking forward to the combination of Dulquer Salmaan and Sai Pallavi onscreen in Sameer Thahir’s Kali, and thankfully they don’t disappoint. It’s an interesting film too, with a simple but effective screenplay from Rajesh Gopinadhan, following the story of a young man who cannot control his temper and the unexpected consequences of one of his episodes of rage. The first half sets the scene for a compelling thriller in the second half and with excellent performances from all the actors, Kali is definitely well worth a watch.

The film starts with a violent fight at a roadside restaurant. It’s beautifully choreographed and includes the displeasure of the restaurant’s resident cat whose meal is disrupted by the conflict. The snarling cat adds a touch of wildness and lawlessness to the fight that’s echoed later on in the film when the action returns to the restaurant. The short but vicious opening also sets the scene for another fight, although this one is less physical but equally damaging in its own way.

Siddharth (Dulquer Salmaan) is a man with a very short fuse and the simplest of things makes him lose his temper. After the fight at the restaurant, the next round is between Siddharth and his wife Anjali (Sai Pallavi). Anjali is seen leaving their house in tears and carrying a suitcase, while inside Siddharth is angrily throwing objects at the wall. It’s a scene of domestic life that rings true, particularly since Anjali isn’t staying around to accept any abuse and sensibly heads for the door. However it’s late at night and Siddharth at least doesn’t leave his wife walking down the road by herself, managing to pick her up in their car even though he’s still clearly very angry indeed.

The film moves into flashback to show how Siddharth has always been quick to lose his temper, even as a child, and how the years haven’t mellowed his reactions at all. Throughout his time as a student and even during job interviews, Siddharth shows no patience and absolutely no control over his angry reactions. He’s a man who reacts first and rarely thinks about the consequences of his behaviour. It seems strange that Anjali does stick with him and it’s hard to believe that Siddhartha hasn’t had any previous problems as a result of his behaviour. No-one ever seems to react badly to his outbursts for example. What’s good about the flashback though is that there is little about the love story between Siddharth and Anjali. Their romance is simply a fact, and the film instead shows Anjali’s struggle to cope with Siddharth’s temper outbursts and her attempts to keep him on an even keel. Many of the situations are drawn from routine day-to-day hassles and while Siddharth’s irritation is understandable it’s his inability to control his reactions that make him such a difficult person to deal with.

There is a kinder side to Siddharth too though, and he’s not all rage and temper. He does make some attempt to keep his temper and tries to control his frustration with his bank customers using a stress ball Anjali gives him, with at least some partial success. However he has an incredibly irritating colleague in Prakashan (Soubin Shahir) who is deliberately provocative and obnoxious, although Siddharth does his best to ignore him as much as possible. Dulquer Salmaan and Sai Pallavi have excellent chemistry in their scenes together which makes their relationship believable. It’s easy to see why Anjali stays with Siddharth despite his anger management issues – the two are clearly in love and outside of his temper tantrums Siddharth is a caring and attentive husband. I love the end of this song where Anjali dances with Siddharth in their living room. It seems very natural and spontaneous, plus Sai Pallavi is simply gorgeous in that red sari!

The film steps up the pace in the second half when Siddharth and Anjali find themselves in a frightening situation as a result of Siddharth losing his temper with truck driver Chakkara (Chemban Vinod Jose) on the road. The couple end up at the restaurant seen in the opening scene of the film where Siddharth’s anger puts him and Anjali in real danger and Siddharth has to curb his natural aggression to try to ensure their safety. The tension rises steadily as the situation escalates further out of control and both Gireesh Gangadharan’s cinematography and Gopi Sundar’s music work well to add further pressure.

Dulquer Salmaan does a fantastic job of conveying his rage without going too far and over dramatising his outbursts of temper. Despite his ever-present anger he manages to make Siddhartha at least a partially appealing character  and I even found myself in sympathy with him as I was just annoyed by Prakashan and the bratty child that visited Siddharth’s house! Dulquer also is excellent in the latter half of the film and allows his inner struggle to show clearly on his face as he deals with the staff and clientele at the restaurant. It’s another brilliant performance and despite the negative tones I thoroughly enjoyed his characterisation here.

After her critically acclaimed début in Premam, I wasn’t sure what to expect from Sai Pallavai but she puts in another fantastic performance in Kali.  Her frustration and disappointment with her husband come across beautifully and she gets the level of embarrassment and distress just right when Siddharth loses his temper in public.  On top of all that she still manages to have great chemistry with her co-star and makes their relationship believable too. She’s just as good in the second half and her terror and helplessness are a major factor in maintaining the tension in the latter part of the film.

The support cast are also uniformly good with Vinayakan and Chemban Vinod Jose perfectly cast as the main villains of the story. They effortlessly exude menace and both have great evil grins and good use of their expressions to help increase the tension every time they appear onscreen. Soubin Shahir is incredibly annoying as fellow bank employee Prakashan and as such manages to win Siddharth some sympathy for having to deal with such an idiot on a day-to-day basis! However thankfully Prakashan is never too over the top and Soubin Shahir doesn’t just play his character for laughs but actually makes him a more plausible character than expected.

Kali is a film of two halves. The first sets up the situation for the rest of the movie, and concentrates on the personality of Siddharth and his relationship with Anjali. It’s a well constructed observation of human interactions and the painful cost of unreasoning rage and unsociable behaviour. The second half on the other hand is an out-and-out thriller where the characters are more broadly drawn and the action tense and frightening. And yet, despite the different pace in the first and second halves the film works well as a whole story and makes for an enthralling two hours of cinema. Highly recommended.