Reviews

"Iyobinte Pusthakam" derives its name from a story in the Old Testament called "Book of Job" (warning: Wikipedia trivia ahead), which is apparently about a man whose faith God and Satan decided to test by putting him through many sufferings. It looks like Amal Neerad chose this name for his movie, for he was planning to play God (or, rather Satan) to test the audiences' endurance for suffering. But sorry Sir, our faith ain't that strong! The posters and publicity material of "Iyobinte Pusthakam" set a tone for a stylized period drama and knowing Amal Neerad, one doesn't expect anything more than a good looking film with some decent action (with no substance or substance borrowed/stolen from Hollywood). Unfortunately, here one wishes the script was copied from somewhere, for there is absolutely none otherwise and no action either.

The movie starts off with an ad film on Vagamon tourism, followed by some music videos, ads of retro cars, bikes and clothing (it even has a documentary-like montage of World War II) and ends with a demonstration of vintage weapons. Well, its not THAT bad :). The cinematography, for one is breathtaking, the locations are captured beautifully and some shots of graphic violence, though an overkill, are well executed. The costumes, of course way too stylized (for which peasant woman in 40's Kerala, other than Isha Sherwani, would wear an English skirt, I wonder!) lend a charm of the period and English romances. I particularly loved the references to the World Wars, the Royal Indian Navy Mutiny (something I wasn't aware of), the missionary influence and the nascent communism (which, though, looked force fitted for no reason).

But once you get over the visual spectacle after the first few minutes, there is hardly anything to keep one interested in the goings on. The story, which is almost non existent, meanders from here to there, without a direction. There was a point when I thought this was going to turn out to be an adaptation of "Godfather" (the Hollywood one), but no, that would make it too good for the audience, won't it! It just eventually turns into a mess of unconnected events.

There is a nice collection of characters though, all portrayed by competent actors, with some good one liners sprinkled among them. Unfortunately, all of them are left without any strong motive for their actions and their nature. Among the actors, Lal, who portrays the transition from slavery to power to weakness gets the meat of the acting portions. The only other actors who stood out for me were Jayasurya (cos I like him :P), Chemban Vinod and Padmapriya, whose character has been done great injustice by the double meaning references and objectification. Fahad has nothing much to do except one or two decent action moves. Isha Sherwani has the job of looking good, which she is competent at. The only other noticeable performance was from the girl who plays Fahad's tribal friend's wife (don't know her name). She has really expressive eyes and stood out in the 2-3 scenes she was in.

The music and especially the background score is pitch perfect. But the songs, especially a totally unwanted item number by Amala Paul (who BTW, can't dance to save her life), are completely misplaced and just extend the suffering when one is waiting for the movie to somehow end. And that brings me to the one thing that the editor majorly screwed up on - 30 minutes shorter, and I might have disliked it a bit less.

At the end of the day "Iyobinte Pusthakam" is a job half done. Great visuals, great costumes, nice background score, good looking actors, some interesting characters, a few good one liners but absolutely zilch in the form of a script or semblance of a plot. I wish Amal Neerad would get back to pure action in slow motion. At least, then, the slow pace made sense ;).

Edit: It was after a good night's sleep that I realized, that this movie is actually an adaptation of William Shakespeare's "King Lear". With the knowledge, it does feel a little more respectable.

With a name as unique and interesting as Sapthamashree Thaskaraha, one expects a a uniqueness in the treatment, if not in the story and in that Anil Radhakrishnan Menon doesn't disappoint.

Be it Ocean's Eleven to the forthcoming Happy New Year, Hollywood or Bollywood, everyone associates a heist movie with stylish shots, suave protagonists, cool gadgets and futuristic security systems. In the midst of all that gloss comes this very naadan, Malayalee, down to earth thaskara katha (heist tale). From the small time temple bhandaram thieves, blueprints which are more brown and not a CAD/CAM version, a hospital and circus that we have seen in our cities (unlike what Dhoom 3 would like us to believe) to referring to dates as per Malayalam months, this movie has a Kairaleeyam feel to it. Even the gadget geek is so real that you know you have called him home to repair your motherboard once or twice :). Add to this the natural performances from the non mainstream guys that actually bring a smile to your face its definitely not a bad movie at all.

Coming to the movie, the first half is interesting, but the shift from the comic to pathos is a little uneven. So much so that you keep wondering if its a lighthearted movie or a serious one. Both Nedumudi's and Prithviraj's flashbacks are kind of predictable and boring, yet they expect to move you, which they don't. And then the overuse of the much loved Thrissur accent. I loved the way the city is captured, but haven't we already saturated the potential of this sing-song lovely accent of ours? At least a few characters could have been left out from it! The second half, with all the preparation and planning is fun and the music adds to the thrill. But even if you ignore the feeling of "isn't that from xyz movie?", there are so many loopholes and the plan looks so convenient that you are not completely convinced. And the sad part is that these loopholes could have been easily fixed with a quick review of the script. Unfortunately, someone decided to be lazy in giving those finishing touches. Prithviraj needs to be appreciated for being the producer and still giving the limelight to the other actors. Of the sapthamashrees Chemban Vinod, Neeraj Madhav and Sudheer Karamana steal the show while the known faces like Nedumudi Venu, Asif Ali and Prithviraj do nothing special.The music suits the pace and the rock feel contrasts the backdrop very well. The camera captures Thrissur beautifully. Its the script that fails them all.

In the end Sapthamashree Thaskaraha has a novelty which is reflected in its name. While heist movies are by rule suave and stylish, here's one that's so Malayalee-garized and naadan that it brings a smile. Unfortunately, the novelty lasts only for a few minutes, and the script with its "oh so convenient" a heist, the overused Thrissur accent and the expected "twist" lets it down.

No, its not a bad movie, but its definitely not worth the hype. First things first, the movie is blessed with an awesomely energetic cast. The first 20 minutes were a breeze, thanks to the lightheartedness, the mockery of our Nair Tharavadus and Nivin Pauly, this despite that wedding song (Thun thuna ney na... and than thana ney na... where do you come up with such deep lyrics I wonder!). It feels like Anjali Menon is picking up from where she left us at the end of "Manjadikuru", letting us know what happened to those cousins as they grew up.

The movie follows three (and a half) different story arcs of the three (and a half) main leads connected by their intermittent get-together at Rasta Cafe (I give it to them for their will to drive 50 KMs routinely through the Bangalore traffic for some coffee).

Dulquer plays the cool dude, the biker, the rebel, the go-to guy, the RJ stalker among other things with a look that has become quite a regular with him now. He might soon start getting type cast. But then he carries it off so well. Nivin plays the simpleton trying to get along with the city life. However caricaturish the role and performance, I just loved the character and this was the track I liked the most. Nasriya plays the lighthearted girl who gets into an arranged marriage way too early and to someone who doesn't make it easy, played seamlessly well by Fahad, despite the boring/unconvincing character (and that's where we get the half character and story arc).

Of the 2 other main characters, Parvathy gets a meaty role and plays it to perfection, while Isha gets a role that suits her very well - of looking good and breaking hearts (with none of the innocence of her earlier role in a thattum). And then there is Kalpana who cracks us up in the second half and of course Vijayaraghavan in that one scene where he is only heard...brilliant! Nithya Menon in her cameo is, well, BAD and yes, it does breaks my heart to say that.

Despite the superficiality, the movie entertains in parts, but not as a whole. It stretches so, especially the Nasriya-Fahad track which is the least convincing and boring. Dulquer's track is predictable till the entry of Parvathy Menon. She has a very interesting character to play and without giving away any spoilers, keeps things from going downhill. Coming to the highlight of the movie (to me), its Kuttan, played by Nivin Pauly. That innocent, simpleton who finds it almost impossible to get along with the new lifestyle, the one who gawks at people kissing in public, but can't accept it. The reason behind the mallu hypocrisy which many fail to see.

The movie handles the arranged marriage, the transition of a naive young boy to the city lifestyle and such nuances very well. Music is just about good, the background score though should not have been so obviously plagiarized. Scenes and locations are great, after all, the movie focuses on good looking faces and places. Like my cousin's 5-year old said, "Wow! No garbage on Bangalore roads!!!" You need some serious cinematography talent or CGI to achieve that.

At the end, Bangalore Days, ends up being a Malayalam movie in Bollywood format, a "Dil Chahta Hai" for us. You got the multi star cast, you got the good looking people and locations, you even got the wedding song and dance... its got the works. A"Karan Johar"-ization of Malayalam cinema (of course at a much better quality). You know the kind, where someone, who is seemingly an entry level employee at an IT services firm (which has a training center at Mysore...now which one was that?) but lives in a fully furnished Confident group ka flat, all ALONE (no roommates and no scope to share rent). He hasn't even been onsite yet!! Since when did they start paying so well??? Come on guys, please set realistic expectations. Anjali Menon, you should make more responsible movies. Now, how am I gonna explain to my relatives that we don't live like that here! Finally, did I like the movie? Well, I've got a love-hate thing going for "Bangalore Days". Loved that someone attempted a decent "Dedication to Bangalore from a Malayalee" and Hated that they deviated mid way. Loved the cousin camaraderie and Bangalore parts, Hated that it turned into a candy-floss, cliché' ridden, Bollywood-ization of Malayalam Cinema. Loved the Nivin Pauly character and the half-decent Dulquer track, but absolutely Hated the Nasria story.

The Trailer

You go into Indian Rupee expecting a Ranjith phenomenon. While you are still wheeling under the influence of that last peg of Praanchiyettan, within the first 15-20 mins you kinda feel that maybe so in Ranjith. The Thrissur accent has been replaced with a Kozhikodan, the Thrisivaperoor circle has been replaced by the Paalayam angaadi, the Vadunkunnathan temple with the Mananchira Square, but of course our much scorned Prithvirajappan is no replacement for Mammooka! But, as the movie progresses you realize that unlike the light-hearted entertainer that was Pranchiyettan, Indian Rupee has a more involved script. Flawed though in its attempts by some weird camera angles, disconnected sub-plots and lack of a coherent continuity, the movie succeeds in putting across the dilemma of today's new generation of entrepreneurs. To an extent it reminded me of Rocket Singh from last year. Main difference being that our protagonist is no longer a dreamy eyed innocent victim. Here, he is what all entrepreneurs ought to be, less dreamy and more street smart.

Title Credits

The first half is kind of a let down.

* Prithviraj proves that he is no Mammooka when it comes to accents. He sounds uncomfortable with the Kozhikodan accent and the comic dialogues.

* The 'romantic' song was a major pain to sit through. C'mon, grown-up doctors swaying to a song with candles in their hand. I wouldn't do that even in Engineering college final year!

* The mother, sister, murappennu characters are now too old and clichéd. But yes, there is a novelty in Ranjith's perspective to these characters now

* Ranjith loses track of the plot trying to establish the Real-Estate lingo and Thilakan's character

* Sub-plots involving Suresh Krishna and Kalpana are a little overdone with emotions

The only saving grace in the first half and of course one of the strongest drivers of the movie is Thilakan. In short, this performance can be summed up as an 'AMMA-kyu vili' to all those stars and organizations and producers guild and what-nots and who's-who's, who are trying desperately to sabotage his career. Little do they realise that by banning him they are not banning an individual but the potential for improving malayalam cinema. Without commenting on his personal life, it was a pleasure to see a character so well-etched for this versatile actor. After years, someone has written a character worthy of Thilakan. At the age of 75, there is only one other actor who I think could have pulled it off. But then again even Clint Eastwood would suck if he had to play a Malayalee character! No award can do justice to this man's contribution to Malayalam cinema.

Interval

Innovative has bad seats, no coffee, bad sound system, but easy tickets and accessibility

Climax

The second half of the movie was a breeze, no doubt. A tight script and powerful portrayal by Prithviraj, who by now is doing what he is best at, acting smart, keeps the audience guessing. On a serious note, I think the poor guy has taken enough flak for his 'frank' interviews and for that of his wife's. Let's focus on his performance which is pretty good. Of course he has a loooong way to go and he is definitely no Mohanlal or Mammooty or even Indrajith. But let's accept it, no Kunchacko Boban or Jayasuriya would have fit this role as well as he could. Commenting on other performances

* Jagathy, is but a natural

* Rima looks good in her deglamourized avatar. Acting, well, ignored.

* Tini Tom, looks a little under the hangover of Praanchiyettan. He gives a good 'am right next to the hero in all scenes' performance

* Revathi's cameo adds a charm to the movie

* Mamookoya with dyed hair and an evil touch is a little out of place

Closing Credits

Overall, Indian Rupee has a good, tight script, which keeps your brain processing while you are watching the movie. It could have done better with a more organised first half. I learnt a few good lessons and terms about the Real-Estate market in Kerala and also that Thilakan is very much alive n kicking, that Prithviraj can try to act and that Ranjith has his flaws. The movie is able put a message across out without preaching, that there is a very thin line between success and ethics, in cheating and in being a cheat. And yeah, loved the last scene. Keeps you hopeful about the future generation of Malayalam cinema. So, audience, please stop making Krishanum Radhayums and Velayudhams successful and then blame it on deteriorating standards of Malayalam cinema. It only proves that your tastes are deteriorating and not that of Malayalam cinema.

The End

3/5 Stars

"Munariyippu" starts with a very interesting backdrop for the title credits - of a dead lizard being carried away by ants. This right after a disclaimer that "No animals were harmed in the making of this film". I found it very farcical. But then they stretched it for so long, focusing on it while ants carried that lizard from one end of the screen to the other for a good 5 minutes, that one got distracted and bored by the end of it.

This is exactly my complaint against the rest of the movie. It takes a very interesting premise, maybe what can be justified as a farce/satire, but turns you off by stretching it way too long.

"Munariyippu" as a story concept is very intriguing and interesting. The first half takes some time to set in, which is fine if not for the (what I qualify as) pseudo intellectualism, references to Kafka and the irreverence of "new generation" to political philosophies and such. Aparna Gopinath comes across a little out of her comfort zone, but then we start getting used to her aspiring and talented journalist Anjali. As the movie progresses, we start getting irritated with her as well, which I believe is the intention of the director too. The journalist get-togethers, Anjali's apartment, the Maggi dinners, the details are actually well captured. But we wait for the "action" to start, for the story to get going. But unfortunately that never happens.

There are some really funny characters, like the library assistant, the kid from the restaurant, the "cameo" character, who seem there only for the comic relief but still gel in well. I wish that if the director understood the need for comic relief, he had also foreseen the need for a quicker pace. Just like Anjali's micromanaging of Mammootty's writing in the second half, I felt like going and checking with the director of when things will start happening. Alas, by the time it happened, I had already guessed what would be the end, no thanks to the usher who opened the doors in time to warn us that the movie is going to end while we were still waiting for this "happening".

Mammootty stands out as usual by giving a very sober and subtle performance as the innocent, tormented man who is funny yet mysterious - as if a mix of his earlier jailed characters from "Mathilukkal" and "Yathra". Aparna Gopinath does fine. The other actors have also done a good work especially Renji Panicker and Nedumudi Venu. The locations are unique, a different view of Kozhikode.

Overall, the slow pace of the movie, takes the zing out of the story. Despite all the good acting, "Munariyippu" disappoints as a full length feature film. Wish they had kept it crisper. Lets hope Venu's next movie has a better story and a more "entertaining" pace.