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Reviews
Oru Vadakkan Veeragatha (1989)
Legendary
Oru Vadakkan Veeragatha is one of those rare films that has managed to resonate deeply with audiences, long after its release. Directed by Hariharan and penned by the legendary M. T. Vasudevan Nair, this movie delves into the heart of Kerala's rich folklore, offering a retelling of a tale that many thought they knew. The film centers around Chandu Chekavar, a character traditionally portrayed as the villain in the folklore of Kerala's northern regions. However, Oru Vadakkan Veeragatha takes a different approach, challenging the audience to reconsider their preconceptions about this legendary figure. The story is set in a time where honor, bravery, and martial prowess were the highest virtues, and it navigates the intricate web of relationships, expectations, and societal pressures that define its characters. Mammootty's performance as Chandu is, quite simply, a masterclass in acting. He portrays Chandu as a complex, layered individual-one who is as much a victim of circumstance as he is a product of his own decisions. There's a quiet intensity in Mammootty's portrayal that draws you in, making you empathize with Chandu even as you grapple with the choices he makes. The film's visual appeal is undeniable. The setting, the costumes, and the attention to detail in recreating the period are all meticulously done. Kerala's landscapes are used to full effect, with the cinematography capturing the region's natural beauty in a way that feels almost poetic. The martial art sequences, showcasing the ancient practice of Kalaripayattu, are particularly striking-they're not just about physical combat, but about a deep connection to tradition and honor. What truly sets Oru Vadakkan Veeragatha apart, though, is its script. M. T. Vasudevan Nair's writing is both elegant and thought-provoking. He doesn't just tell a story-he weaves a narrative that explores deeper themes of morality, loyalty, and the way history is often written by those who live to tell the tale. The dialogues are rich and meaningful, and the characters are given depth and nuance, allowing the audience to see them as more than just the roles they play in the legend. The music by Bombay Ravi enhances the film's emotional resonance. It's subtle yet powerful, supporting the narrative without overpowering it. The songs and background score add to the atmosphere, making the story even more immersive and engaging. In the end, Oru Vadakkan Veeragatha is a film that lingers with you. It's not just about retelling a story-it's about questioning the narratives we've always accepted, and finding the humanity in even the most vilified characters. This is a film that invites you to think, to reflect, and to see things from a different perspective. It's a must-watch for anyone who appreciates cinema that goes beyond entertainment and offers something truly profound.
Bramayugam (2024)
Oscar Level movie
Malayalam superstar Mammootty is currently at the peak of his career, delivering one hit film after another with his impeccable script choices. Just when audiences thought he could not surpass his performance as a gay man in 'Kaathal - The Core', he surprised them yet again with the trailer of 'Bramayugam', a black-and-white horror thriller.
In the film, Paanan (Arjun Ashokan), a courtroom singer from the lower strata of society, encounters a Yakshi (female ghost) while fleeing a slave market. He then escapes from her and finds refuge in the mansion of Kodumon Potti. The sprawling mansion is inhabited by two people - a black magician Potti (Mammootty) and his cook (Sidharth Bharathan). Potti initially treats Paanan as an equal and offers him food.
However, Paanan soon finds out that he is trapped in Potti's mansion. What is the story behind the cursed mansion, and what are the sounds that Paanan keeps hearing at night? Will Paanan ignore the chef's advice and plan his escape? These questions are answered over two hours and 20 minutes.
Director Rahul Sadasivan's 'Bramayugam', set in the 17th century, is a perfect blend of folklore and horror. The film takes its sweet time to settle, and it also prepares you for the ride. It shows that the makers are not in a rush to get to the story and slowly transport you into the mansion where Paanan is trapped. In a few minutes, you're trapped in Rahul Sadasivan's world as well.
Paanan then meets Potti, but until then we don't see Mammootty. Because Paanan is from a low caste and doesn't look at Potti's face while talking to him, we don't get to see him either. And when we do get to see him, we are just captivated by his mere presence.
The black-and-white visuals make 'Bramayugam' immersive. In simple dialogues (by popular writer TD Ramakrishnan), concepts about time, power politics, fate, faith, religion, superstition and most importantly, social constructs are explained in a hard-hitting way.
The story of 'Bramayugam' is quite simple, and its only drawback is that it could have benefited from more layers. The film is a slow burner at times, leaving you feeling like the story isn't progressing much. However, the stellar performances by Mammootty, Arjun Ashokan, and Sidharth Bharathan elevate the film. Coupled with cinematography by Shehnad Jalal, editing by Shafique Mohammed Ali, and music by Christo Xavier, 'Bramayugam' offers an intriguing cinematic experience.
'Bramayugam', with an intriguing story, gifts you an immersive experience. And Mammootty strikes yet again.
Roundhay Garden Scene (1888)
All time History
The History for All time, The History of The Movie World
La casa de papel (2017)
Professional Professor
The Series that make you thrilled, if you watch the first episode then you stop at the end.
Aval Kathirunnu Avanum (1986)
Very nice movie
I like this movie vere much, very good performance by everyone
Trinkets (2019)
Very nice to see
Perfect, like it very much... All the actors played very well
Peranbu (2018)
Heart touching movie
PERANBU-Movie Review.
Director Ram is a specialist in making movies on very sensitive subjects.Each and every his movies the depth in his thought and the way he convey his ideas it's really shocks me. peranbu is truly a beautiful poetry by Ram.Peranbu is a moving portrayal of a father-daughter relationship that also forces us to realize how blessed we are.The story has told in compared to the different faces of nature and each story really stick to that.
Mammootty has delivered a phenomenal performance as Amudhavan.He just lived the as character. His expressions,his emotions everything was perfect. Sadhana as papa also delivered a fine performances. Anjali and Anjali Ameer also done their job perfectly
Peranbu is technically a very brilliant movie.The cinematography of the film is just brilliant.Theni Iswar visuals really makes us to connect with movies. Yuvan music and Bgm is flowless. I should say this is Yuvans best work till date.
Totally Peranbu is a Masterpiece which shouldn't be missed.After watching the movie it will haunt your mind and heart for long.i will recommend this movie as Must watch movie. Go and watch it will definitely make a change in your concepts of life.
Gladiator (2000)
Roman history
A very memorable and remarkable way to show roman history. The story and names were fictious in comparison to Roman history however the movie made a remarkable approach to its audience and made them believe that its a true story of Roman empire.On May 5, 2000, Ridley Scott and Russell Crowe unveiled their R-rated Roman epic, Gladiator, in theaters nationwide. The film claimed five Oscars at the 73rd Academy Awards, including best picture. The Hollywood Reporter's original review is below.
Emphasizing brawn over brain and spectacle over intimacy, Ridley Scott's Gladiator nevertheless is an impressive accomplishment in its re-creation not only of the golden age of the Roman Empire but of the unspeakable brutality with which one of the world's greatest states conducted its business.
Following up on his recent best actor Oscar nomination, Russell Crowe solidly anchors this epic-scale gladiator movie - the first in nearly four decades - by using his burly frame and expressive face to give dimension to what might otherwise have been comic book heroics. A guy's guy, but one who should have considerable appeal for women as well, Crowe will be a major factor in the worldwide success of this ultimate jock movie from DreamWorks and Universal.
Like the Caesars, who commanded vast armies and ruled much of the world's population, Scott marshals the resources of a cast of thousands, colossal sets, exquisite costuming and graphic imaging to paint in the details of a credible though sometimes geographically confusing depiction of the Roman Empire.
Although the physically daunting production at times threatens to overwhelm the implausible tale, Crowe and several actors, most notably the late Oliver Reed, Connie Nielsen and, in an extended cameo, Richard Harris, never let the human dimension get lost.
The screenplay, originally written by David Franzoni (Amistad) with John Logan and William Nicholson apparently doing rewrites, formulates a startlingly simplistic good-vs.-evil scenario. It also asks an audience to swallow the idea of Rome's greatest general becoming almost overnight a slave and then a gladiator. Then again, in the second century of the Christian era, the Empire was a pretty crazy place and anything could, and did, happen.
The movie opens as Crowe's General Maximus undertakes the final battle of his three-year campaign in the northernmost reaches of the Empire. "At my signal," he tells his aides, "unleash hell." And hell it is. Scott treats us to a striking display of warfare A.D. 180-style. The ancient killing machines swing into action: Thousands of spears and flaming arrows pierce the air, catapults fling fiery clay pots against flammable trees, hand-to-hand combat entails broadswords and axes, and a flanking maneuver led by Maximus himself sees the cavalry slip behind enemy lines to finish off the outmanned resistance.
In this early sequence, Scott signals the scope and scale of his ambitions, painting a broad canvas of blood, valor and horror, where action is slowed down to create a blur of shade and color, an impressionistic chiaroscuro of maniacal madness.
As the smoke of battle drafts away, the movie's main characters are revealed. The dying emperor himself is unaccountably on hand, the white-manned Marcus Aurelius (Harris in a role John Huston would have played 20 years before). Waxing philosophical about a rule where virtue and wisdom is overshadowed by constant warfare, Marcus lays bare his unhappiness about the corruption of Rome.
He informs Maximus, his wastrel though ambitious son Commodus (Joaquin Phoenix) and his much wiser daughter Lucilla (Nielsen) of his intention to pass over his son to appoint Maximus as Protector of Rome. However, Commodus makes certain the old man dies before those wishes are widely known. He declares himself emperor before the body is cold, then orders Maximus' immediate death.
Escaping execution, Maximus makes his way seemingly overnight - locations are vague throughout - to his home, where he finds his wife and son hideously crucified. Gravely injured himself, he falls into the hands of a slaver, Proximo (Reed), who turns him into a gladiator along with fellow slave Juba (Djimon Hounsou).
Meanwhile, Commodus, implausibly unaware of Maximus' survival, arrives in triumph back in Rome where he indulges himself in all kinds of villainies. To take the populace's minds off his evil designs, he restores the gladiator games to the capital.
Soon enough, Maximus, who has covered himself in glory in games in the provinces, gets called up to the big leagues. Arriving in Rome, he aims to achieve greatness in the arena, win the hearts of Romans and challenge the emperor himself, the man he has vowed to destroy.
Neither Scott nor his writers seem the least put off by the flatness of this moral universe. Crowe's warrior embodies all that is good in the Roman ideal - where strength is found in honor and one remains loyal to a higher morality than political power. Phoenix's tyrant, on the other hand, is a sniveling and indolent punk, snarling his every line of dialogue and incapable of even the slightest glimpse of anything reflecting his noble lineage.
To drive home Commodus' tyranny, his entry into Rome is accompanied by monochromatic shots of the pageantry that ape those in Leni Riefenstahl's Nazi propaganda classic Triumph of the Will. Scott thereby ensures his audience always understands where the moral center lies. But some of the fun drains out of the movie when its makers resort to caricature over character.
Nielsen's Lucilla is more confusing than complex, seemingly allied with her brother but emotionally pulled toward Maximus, with whom she once had a romantic dalliance that left them both bitter. But Nielsen delivers a character whose contradictions stem from not only divided loyalties but a moral inheritance from her father.
Reed's ex-gladiator-turned-slaver emerges as one of the film's more interesting figures, a man of practicality who, as practical men are often wont to do, proves to be a man of more honor than one might initially think.
But it is Crowe who dominates, a sexy and decisive man of action, bloodied but never bowed. Crowe is one of the most watchable of movie actors, fast on his way to becoming a movie star.
Arthur Max's sets recreate a splendid Rome, though some CGI shots of the afterlife, which figures prominently in Maximus' inner life, are too contemporary looking to jibe with the ancient world. Hans Zimmer and Lisa Gerrard's music catches the ominous majesty of the cruel Empire. John Mathieson's camera is never showy yet always in the right place to catch the action. The stunt work is thrilling, an unimaginable choreography of men, weapons, chariots and wild animals down to the smallest details.
The movie is impressive in scope, but like the gladiator games themselves, designed for mindless spectacle to please the multitudes.