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subash-sadasivan
Currently planning to make a feature length film ( Independent )
Reviews
Krishnanum Radhayum (2011)
Not a bad film compared to other current Malayalam films
After watching so many clips on YouTube etc, on Santhosh Pandit and listening and reading materials from others who were simply angered and upset by Santosh's confidence and remarks, I decided to finally see his film. I actually believe that his film is lot better than most commercially successful malayalam films released in the last 5 years!
I have watched, assessed & discussed some of the greatest movies of our masters in the last 44 years of my life ( ie Bergman, Ray, Scorcese, Kubrick, Fellini & Kurosawa ). So I do know about good and bad films. I think Santhosh has taken key elements of typical Malayalam films ( some of them, sad to say, very successful at the box office ) and deliberately mixed them into his film. I say well done Santhosh ! Perhaps some of the existing Malayalam filmmakers will watch your movie and feel ashamed that they have simply fooled the public with monotonous rubbish for so song !!
OK, OK, he ain't no Borat, but I say Congrats to Santhosh ! Make more films like these !!
The Tree of Life (2011)
Reminded me of Satyajit Ray's Apu Trilogy
I finally saw this film last at the cinema with my wife whom I lived with and loved unconditionally for the last 25 years. As a Terence Malick fan for many years, and after hearing so much about the film, I attended, expecting an almost 'perfect' film. I was disappointed. The cinematography was awesome but the rest ( including the screenplay as well the obvious attempt to define the meaning of life ) was below average. My wife liked it slightly better.
Throughout the whole film, we were reminded of the 'Apu Trilogy' written & directed by the great Satyajit Ray approx over 50 years ago. It confirmed to me what great films they were and how Ray drew us closer to nature brilliantly. The whole basis of 'advaita' principles were there in those films and I found what Mr Malick was trying to convey to the audience were already covered masterfully by Ray and his films on Apu.
Just see the 'Apu trilogy' and you'll see what I' saying. Trust me.
Neelakkuyil (1954)
Classic Malayalam film on untouchabilty
I first saw Neelakkuyil when I was about 9 or 10, back in Kerala, during a re-release of the film in the early 70's. At the time, I couldn't really understand the true essence of the film, but enjoyed the songs immensely. Everyone was whistling the tunes in those days. Since then I have seen it 5 times, at various stages of my life and have fallen in love with this film, because it is such a good film, full of inspirational messages. It awakened me to ask questions, important questions on life and its meaning. In summary, it is a film about untouchably, so that Sree Narayana Guru's universal message of "one in kind, one in faith, one in God is man" shines through beautifully in this gem of a film.
STORY: 10/10. The story is simple ( By the way, following is not going to spoil your viewing )- an untouchable girl is found dead with her illegitimate child, the child is adopted by a postman, a high caste Hindu. No one knows the true identity of the real father of the child, until the child's real father, also an upper caste Hindu acknowledges paternity. As the story unfolds, the real father becomes agitated by guilt and anguish and then finally questions his previous actions. The film ends with the Master's own resolutions and true acceptance of his own child and self.
DIRECTION: 9/10. The film can be split into four distinct segments: Happiness & Innocence, Sorrow & Denial, Regrets & Self Analysis, Revelations & Resolutions. The film questions the basic principles of actions and reactions, these are carefully explained using the central character, an upper caste school master (Sathyan). The story is guided along by two other characters: the auteur, who is the postman, played by P.Bhaskaran and the untouchable girl, Neeli, played by Miss Kumari. Both P.Bhaskaran and Ramu Kariat handles the camera with intelligence throughout the film.
ACTING : 10/10. Superb and faultless acting by Sathyan, P.Bhaskaran and Miss Kumari.
This Malayalam film is a 'timeless' film. Its a perfect film, that is, there isn't a single bit of film that can be edited out, without it losing its true rationale and intentions. The film, taken from an original story and screenplay by Uroob, produced by K.Parikutty, delighted the audiences when it was released and has remained a classic for its simplicity and memorable songs. The cinematographer A.Vincent and music director K.Raghavan, along with all others mentioned above, formed an effective, influential group of young dynamic talents of that era in the history of Keralean literature and art. If film, by definition, is a medium through which you can view the people and culture of our world, well, this film embodies that message clearly.
Odeyil Ninnu (1965)
Classic Malayalam tear-jerker on unconditional love
I saw Odayil Ninnu ('From the gutter') several times, over the last 35 years or so, and to me it's simply a splendid memorable Malayalam film. I first saw it in 1970, when I was nine years old, during an excursion from school as an afternoon outing. This was not a common occurrence for me or for any of us at this strict school, so I thoroughly enjoyed every minute of this pleasure trip. It was great, being with all your school friends, all in the only cinema near Kadakkavoor railway station in Kerala. Now, listen to this, when the main actor Sathyan died in 1971, I went and informed the head master of the sad news, since I firmly believed we would have day off at school ! In later years, I am sure that the old master had a few laughs with my Dad about the incident. Anyway, last time I watched it was in the late eighties, once at the Boleyn cinema in London and later on video. I cant get it on video now, so someone out there with clout, please help to release it on DVD, with English subtitles. I'm sure thousands will buy it, especially after they read this review. Thanks in advance. Now the film is also a tearjerker, even as a bloke in my late twenties, I cried especially during the last few sad scenes of the film.
STORY: 10/10.
The novel of the same name is by the famous Kesava Devan, who stands equal to Sivasankara Pillai (author of the classic film Chemmeen) with his touching tales of the working class. Most Keraleans, like me, believe that he was also was an ardent admirer of realism and 'Odayil Ninnu' written in 1944, long before the film's production, has been one of the greatest novels written in Malayalam. Odayil Ninnu may be a string of metaphors explored time and again in classic Indian cinema, but it still deserves merit for being very dramatic to watch. The story simply traces the life of a poor girl finally send to college by a hard working old labourer with pure heart and soul. It shows how selfishness and peer pressures of life can make someone forget the past, and how it can lead to ignorance and arrogance. It shows how tolerance and calmness grows on you when your heart is pure, especially when confronted with situations created by people who are selfish and self-centred. It teaches the audience one thing at least: You cannot ignore your past without creating serious consequences. Dharma (The universal law of righteousness) prevails till the end. The centreline story is excellent and unique and it won't disappoint anyone, I promise.
DIRECTION: 9/10.
Sethumadhavan directed this film very well. He directed Sathyan (his then favourite) extremely well. It shows that the two had a very close relationship, similar to say De-Niro and Scorcese in later years of Hollywood, or even better Ingmar Bergman and Erland Josephson of Swedish cinema. Sathyan acted with incredible emotional flair. When I see him happy and proud on screen, I think of Millions of fathers, across all parts of the world, looking proud and happy with tears. At the time he was the most appreciated actor presented by an equally capable director.
ACTING: 10/10.
Sathyan, my all time favourite of Malayalam cinema (apart from MohanLal, especially when he is allowed to act these days) made the character so lovable and inspirational. His acting was awesome. KR Vijaya as the grown up girl was also good, and of course her beauty carried her through the film very well. Oh those eyes ! A classic Malayalee girl, indeed.
If you like a long film with a good storyline and inspirational content, then you will like this film. It's a classic Malayalam film loved by everyone I know, who's lucky enough to have seen it. It's available on VHS or VCD but not out on DVD yet. One to definitely see before you die, trust me.
Aranazhikaneram (1970)
Brilliant classic Malayalam film of an old man in Kerala
I saw Aranazhikaneram (pronounced ARA-NAAZHIKA-NAYRAM) recently on VHS video and I loved every minute of this deeply emotional film and since it brought back a lot of my fond memories of my younger life with my loving Granddad in Kerala, I went out and bought it. I don't remember seeing it in Kerala during my first 12 years there, and even if I did, it would not have appealed to me then. But I do believe now that the video is a real treasure to own. The film is in black and white and the video quality is not that bad either. I just hope, one day, these types of classic films will be transferred onto DVD formats. Enough about my dreams, now to the review .
STORY: 10/10. K. E. Mathai (affectionately known widely as Parappurathu) bases the film on the famous novel of the same name. The novel won the prestigious Kerala Sahithya (Literacy) Academy Awards way back in 1968, only a few years before the film was made, continuing the then trend of film following hit novel. The entire story is seen thru the eyes of an old man, Kunjochaman, masterfully played by the veteran Malayalam actor Kottarakkara. He is probably in his late seventies and it strike me now that the film is very reminiscent of Ingmar Bergmans 'Wild Strawberies' made 10 years earlier and set in Sweden. But this film is an exploration of typical issues and conflicts an old man face in rural Kerala, especially when he is integrating closely with his extended family members. Whereas Bergman's film concentrates on the old man who is forced to face his past, come to terms with his faults, and accept his approaching death, this film on the other hand, questions the life of his family members and the frustrations the old man has when he is powerless to resolve the issues for the people he loves. This is Kerala,India I suppose, so it makes perfect sense when you see an elderly person only worrying over others and not about their own needs. Its an interesting and different story because it presents the case of the old man and his environment, in its most basic form, whereas most Malayalam films, especially made during that era, hides the traumas and despair felt by typical people like the old man. So the story is perfect.
DIRECTION: 9/10. The direction is not faultless, but very good. The film is shot in a semi-documentary style format. I was seeing this is as a kind of world film, and for me, having seen many films of Sethumadhavan, I fell that this is the director's richest and most humane movie. The film shows the despair of the old man in the most direct manner and this is what I like, no camera zooming, no fancy shots of nature (like flowing rivers or leaves falling very slowly, for no apparent reason), just simple straight shots, and the technique hasn't dated in effect at all. Also there are no song n' dances. This is why this will always be a classic Malayalam movie.
ACTING: 10/10. Kottarakkara as usual, is just brilliant. I personally don't think anyone during that period could have delivered such a memorable performance. Possibly my favourites Gopi or Murali, in later years, could have done it, but what an effective 'facial and expressive' actor Kottarakkara is, you'll have to judge for yourself. I would go far as saying that he was the 'Sir Alec Guinness' of Malayalam cinema. Adoor Bhasi as a philanderer, with incredible comedic talent and flair (with his corny and suggestive poems for the old man) is handled with care. Nazir acts, as usual as ..er.. Nazir. I felt that Sathyans acting abilities ( BTW Sethumadhavans favourite actor) are somewhat not utilised fully at times. The actress Padmini ( I think ), who played Satyans wife and the old mans daughter-in-law delivered one notable performance (the expressions of pure quilt and deceit were excellent).
If you are the sort of person who is inspired and is inquisitive about the thoughts of wiser and older generations, who had direct experiences of lifes major struggles, then you will enjoy this film immensely. I warn you that its not an entertaining film but a very meaningful one. Now, having said that, it's also a film of incredible depth carefully rejuvenated on film from an outstanding, flawless and thought provoking novel. See it at least once in your life, it'll be worth it, I promise you. A few more fast moving stills and words, to explain the meaning of life, can only help, I'm sure.
Chemmeen (1965)
Once upon a time in Kerala
I saw Chemmeen as an eight-year-old, when it was re-released in Kerala, India, way back in 1969. At the time it fascinated me because of the playback songs, especially 'kadalinakkaray ponowray' sung by Yesudas. Music choreography is by the well-known Salil Chowdhary. All of the songs were instant hits all over India and Sri-Lanka at the time and everyone use to sing them, in schools, in shopping malls, in festivals etc. There is also the most haunting Malayalam film love song I have ever heard, 'Manasa Mynay Varoo' and believe me I have a good collection of Malayalam songs, old and new. Once you have heard the song, and appreciated its meaning and quality of cinematic delivery for the era, it'll stay in your memory forever, I promise you. As a youngster, at the time I didn't really appreciate the story fully or what the author, Sivasankara Pillai was trying to convey to the reader/viewer. But I did in later years, when I watched the film recently on DVD time and time again. WOW ! The film is simply a masterpiece in Malayalam cinema. Let me explain why...
STORY: 10/10. I will not re-write the story here, now that will be bit unfair to those few who haven't seen it. So I will explain the content at a high level only, as an ardent admirer. Ramu Kariat takes the screenplay from one of the most widely read books written by Thakazhy Sivasankara Pillai. So even before the film came out in the mid sixties, most people especially in Kerala had read and loved the novel. It is a tragic love story, comparable to Romeo and Juliet. It's an investigation into tri-partite relationships. It examines the power of universal love and proves that love has no religious, cultural or geographical boundaries. It reaffirms the required commitment to relationships, it displays the true growing nature of love in an arranged marriage, but it also shows how deep, passionate-love can both save and destroy ordinary humans. Behind this localised story of true love, Chemmeen also tells the global story of a fishing locality. It tells how people can change with greed and jealousies. Its tells the engraved nature of superstition in the Hindu religion and culture, for example, the firm belief that if you do wrong, 'Kadalamma (mother of the sea)' will most definitely be cross with you, ie she will take your precious item away as punishment. So the story is also an embodiment of moral standards. As a mediator and arbitrator of divided factions, Pillai questions and assesses both sides of the arguments and finally gives you a few meaningful answers. Yes, it was a controversial story and suffice to say, anyone with heart will love it once they see it replicated exactly on film.
DIRECTION: 9/10. I am a passionate follower of Kurasawa, Bergman, Kubrick, Fellini and Ray, so I have seen some faultless films in the past, therefore I wont give this film's directorial effort a 10/10. Personally I think all films outside these masters' spectrum of thoughts are simply part of regression filmmaking, just people simply going back and repeating the same things on camera. Now having said that, I do feel that Chemmen's direction by Ramu Kariat is unique. The direction is more David Lean style than of any other filmmaker. David Lean's 'Ryans Daughter' is done with the same flair and feeling as of Chemmeen. The cinematography of Chemmeen is outstanding, including shots of the sea front, it clearly gives the audience with a 3D imagery of the chosen fishing community area. In technicolor ( BTW the very first Malayalam color film ), the film quality is superb. The characters are shot close-up whenever necessary, as in a play and I liked this very much, a very Bergman/Ray technique. If you have eagle eye for film direction, you will not be disappointed.
ACTING : 10/10. Superb and faultless acting by Sathyan, Sheela and Madhu. And of course Kottarakkara, who played Sheela's greedy father. Sathyan's acting, although very arrogant and raw most of the time is exemplary to say the least. As I am getting older, I feel that Sheela, with her curvaceous, plump figure is actually a very attractive actress ( I never used to believe this, always thought Saradha was more beautiful and elegant). I suppose this is what old age does to you !
As a final summary note, I'd like to simply say, just go on, rent it or buy it on DVD and watch one of the best Malayalam films ever made. This film is an ARGE ( An All Round Good Egg ). ___________________________oOo______________________________________