While the need of the hour is widely promoted as urgent law reconstruction favouring women freedom in light of the delhi rapes, some might find it strange to believe that our country was once a place which gave the highest regard of its kind to the womenfolk and allowed them freedom in divorce and remarriage. The feudal kingdoms which are often touted for their totalitarian policies often took such liberal cultural stances which cared for freedom of the indvidual irrespective of their gender. The matrilinear system which used to prevail in kerala is a proper example of such a social setup. The advantage of the matrilineal system was that the property was enjoyed by successors of the women in the family. The women were educated and bold. They enjoyed freedom in all respects. The mother in the family was stronger than the father. But by the end of this system, in the 1940s, women lost all their powers and soon became 'slaves' in the hands of a feudal male-dominated society.Ozhimuri as a movie is an observation of the transition from this system to the current patrilinear system. The practices among nairs in southern travancore are shown in a very realistic manner , sometimes adding a bee wit of satire.Madhupal who has earlier proved his mettle with 'Thalappavu' impresses again, this time also touching on kerala history as he did in his earlier adaptation of emergency rajan case.
The primary factor of appeal in ozhimuri apart from its genuine thread would be the originality rendered in presenting the dialects and slangs of malayalam in southern travancore. The subtlelities in diction , some unique vocabularies and that unapprehendable mix with tamil has been so brilliantly reproduced , the obvious credit which should go to Jayamohan, the famous malayalam-tamil bilingual writer and critic. Jayamohan who is famous in the literary world for Vishnupuram, rubber etc has penned dialogues for tamil movies like naan kadavul, angadi theru and the yet to be released kadal. His foray into malayalam films could not be more perfect since it created a movie which finally showed some justice to the southern travancore malayalam, which was earlier reduced to a bafoonerish mockery by suraj venjarammodu and the mega start mammootty himself in Rajamanikyam ! Shot widely around Tiruvattar and other border areas of south kerala, the locales themselves are so orinally selected that they mingle seamlessly with the pplot and characters.
The screenplay basically evolves as insights into Thanupillai's (Lal) life and his character, through the recollections of his son sharath (Asif Ali) and his wife Meenakshi (Mallika). Asif Ali for once gives a mature performance which can help the viewer forget about his on-screen atrocitites earlier in asuravithu or ordinary. Lal gives an amazing performance in his father-son role, making him a sure prospective for some sort of recognition for his effort in this movie. These pieces of flashbacks are sewn together from Balamani's (Bhavana) perspective , who appears for Lal in the divorce case , or rather Ozhimuri case filed by his wife. Swetha Menon once again gets a negative role in the offering , but has little to do with it this time. The best thing about the plot is that it makes no effort to educate the viewers about any gender based assumptions or stances regarding a particular social practice. The viewer is rather left to ponder about the systems mentioned earlier and how it affected Thanupillai or Mallika as humans. The story which swings back and forth between Thanupillai and Sharath or Mallika ultimately ends in a sober note , not your typical happy ending as the latter part of the movie would tempt the viewer to believe in.
The non-appealability of ozhimuri to some masses or its rather dim box-office performace maybe attributed to the same cultural abberations between the north and southern parts of kerala. The local dialects and systems of southern travancore need not neccesarily be an item of fascination for people living in other parts of the state. While these are necessary evils or risks in adapting such a theme to screen, Ozhimuri is without doubt a decent watch to come out in a time when new-generation craps are ruling the industry.
The primary factor of appeal in ozhimuri apart from its genuine thread would be the originality rendered in presenting the dialects and slangs of malayalam in southern travancore. The subtlelities in diction , some unique vocabularies and that unapprehendable mix with tamil has been so brilliantly reproduced , the obvious credit which should go to Jayamohan, the famous malayalam-tamil bilingual writer and critic. Jayamohan who is famous in the literary world for Vishnupuram, rubber etc has penned dialogues for tamil movies like naan kadavul, angadi theru and the yet to be released kadal. His foray into malayalam films could not be more perfect since it created a movie which finally showed some justice to the southern travancore malayalam, which was earlier reduced to a bafoonerish mockery by suraj venjarammodu and the mega start mammootty himself in Rajamanikyam ! Shot widely around Tiruvattar and other border areas of south kerala, the locales themselves are so orinally selected that they mingle seamlessly with the pplot and characters.
The screenplay basically evolves as insights into Thanupillai's (Lal) life and his character, through the recollections of his son sharath (Asif Ali) and his wife Meenakshi (Mallika). Asif Ali for once gives a mature performance which can help the viewer forget about his on-screen atrocitites earlier in asuravithu or ordinary. Lal gives an amazing performance in his father-son role, making him a sure prospective for some sort of recognition for his effort in this movie. These pieces of flashbacks are sewn together from Balamani's (Bhavana) perspective , who appears for Lal in the divorce case , or rather Ozhimuri case filed by his wife. Swetha Menon once again gets a negative role in the offering , but has little to do with it this time. The best thing about the plot is that it makes no effort to educate the viewers about any gender based assumptions or stances regarding a particular social practice. The viewer is rather left to ponder about the systems mentioned earlier and how it affected Thanupillai or Mallika as humans. The story which swings back and forth between Thanupillai and Sharath or Mallika ultimately ends in a sober note , not your typical happy ending as the latter part of the movie would tempt the viewer to believe in.
The non-appealability of ozhimuri to some masses or its rather dim box-office performace maybe attributed to the same cultural abberations between the north and southern parts of kerala. The local dialects and systems of southern travancore need not neccesarily be an item of fascination for people living in other parts of the state. While these are necessary evils or risks in adapting such a theme to screen, Ozhimuri is without doubt a decent watch to come out in a time when new-generation craps are ruling the industry.