There is a striking paradox in Malayalam cinema this year. There was a Tsunami of films that were released this year (roughly 250), which were mostly OTT rejects (or planned for OTT but were forced to release in theatres owing to their revised policies). And sadly when it comes to quality the numbers were abysmally low. There are also some inconsistencies when it comes to what works at the box office as well. If the dark horse Romancham was the first solid box office winner this year, a few of the much-hyped biggies crash landed. The one trend that has remained consistent from last year has been the success of non-Malayalam films in Kerala (Leo and Jailer grossed Rs 50 crore while Jawan is the biggest Hindi film grosser to date). If there were some motivating themes this year, there were an equal number of mediocre fares. We decided to capture some of the most stirring frames this year. The ones that lingered even when we left the theatres — a beautiful merger of performances, framing, writing, and execution. Here we go:
Spoiler alert*
Kaathal — The Core, directed by Jeo Baby
After his father testifies against his son Mathew (Mammootty) in court, and concurs with Omana’s allegation that he is gay, we are witness to a poignant emotional meltdown between the father and son. And it begins gently, keeping the narrative rhythm—as the father and son break the wall between them, reaching out to each other, finally wanting to let go of the past, what’s being engraved is one of the most sublime father-son imageries on screen. That too between an acting giant who is displaying newer dimensions to his craft, building an avalanche of emotions with silences, and a debutant theatre actor (Panicker) who is matching him with his pensive presence alone. The second instance is when Mathew and his purported lover, Thankan (Sudhi Kozhikode) cross paths in public. It’s pouring, Mathew handles Thankan his election poster wordlessly and as he walks towards his car, we are caught in the same emotional turbulence. Not a word or a glance is exchanged yet their aching was painfully palpable. And that portion where Mathew finally musters enough courage to apologize to Omana (Jyothika). It’s again an eloquently choreographed emotional montage that tides over their saturated relationship that has been imposed due to the fear of social ostracization. Serene, is richly emotional and heartbreaking. Can any actor cause so much anguish with just a tragic wail as Mammootty does in that scene?
Pachuvum Adbudha Vilakkum, directed by Akhil Sathyan
Nothing quite prepares you for this headstrong, petulant, and empathetic woman called Hamsadhwani (Anjana Jayaprakash) in this feel-good narrative. Pachu (Fahadh Faasil) is at first taken aback and intimidated and eventually warms up to this woman whom he discovers is struggling to fill a deep vacuum in her heart. And that’s the most beautiful stretch in the film — when she narrates the loss of her brother and her struggles to come to terms with it to Pachu. There is a profundity in how she perceives death, loss, and recovery and that’s what you take away from the film.
Kadina Kadoramee Andakadaham, directed by Muhashin
Bachu’s (Basil Joseph) sister (Fara Shibla) Bushara is estranged from her husband over a petty misunderstanding. She gave her gold chain to her male friend for pledging and that has snowballed into an ugly unofficial separation. Expectedly no one understands her and Bushara remains stubborn in her refusal to apologize. A lovely scene happens here—when Bushara’s male friend comes home to offer his condolences after her father died, a tender, awkward moment transpires between the two. He wants to comfort her but is too aware of his situation to reach out.
Kannur Squad, directed by Roby Varghese
When ASI George (Mammootty) the squad leader is played by a superstar, you would think he would get a lofty intro, but here it’s turned into a measured and regal moment, precisely setting the tone for the narrative. George signals his teammate to start the car, buckles his belt, and the wiper blades wipe the layer of early morning mist to make that introduction. With a stellar BGM to amplify that moment! There is also a terrifically staged extensive fight sequence at a village in north India that is nothing short of riveting. It brilliantly underlines the squad’s commitment and reputation.
Iratta, directed by Rohit MG Krishnan
The penultimate scene when the mystery of Vinod’s death is unveiled is eerie, to say the least. The staging while heightening the suspense also creates a tangible fear, when you witness how it has extinguished the last glimmer of light in Pramod’s life. Pramod’s (a brilliant Joju George in a double role) blood-drained face as he realises the devastating truth is an image that haunts you for a long time.
Thangam, directed by Saheed Arafath
Interestingly one of the most heartwarming passages in this murder mystery is the friendship between Muthu (Biju Menon) and Kannan (Vineeth Sreenivasan). Both are as different as chalk and cheese, yet they share a deep, emotional bond. Muthu is reckless and fun-loving while Kannan has been shouldering his family and debts for a long time. Despite being the junior, Kannan shows a maturity that belies his age and that includes giving Muthu a dressing down when required. But it is also Kannan who humors the sulking Muthu in the end.
Nanpakal Nerathu Mayakkam, directed by Lijo Jose Pellisery
The whole duality conflict between James and Sundaram reaches its fruition when Sundaram stares at the mirror to find James. He looks startled, and Mammootty manifests the mortification and consciousness of his duality in that split second with such startling nuance that it leaves you dazed.
Falimy, directed by Nitish Sahadev
In this dramedy, featuring a dysfunctional family of 5, what’s gratifying is how they never transgress the narrative into a cloyingly sweet closure. Though there is enough spontaneous humour, the best moment has to be the conversation between Chandran (Jagadish) and Anoop (Basil Joseph) on the terrace of a hotel. It’s such an affecting piece of writing and performance that professes empathy to the son and father but in the end veers quietly towards Chandran.
Garudan, directed by Arun Varma
It is the moment of truth. Though we are aware of what’s coming, nothing quite prepares you for that revelatory act. As Nishant (Biju Menon) “narrates” his diabolical side to DCP Harish Madhav (Suresh Gopy), slipping into the reveries of a psychopath, we are horrified by his disdain and ruthlessness. It’s the volte-face of the “actor” himself that elevates the scene.
Madanolsavam, directed by Sudheesh Gopinath
Madanan’s (Suraj Venjaramoodu) desperate attempts to consummate his marriage traverse between hilarious, tragic, and touching. Those moments when he feels he has finally found his time with her and then comes the realization that it isn’t meant to be are tender memory cards.
Purusha Pretham, directed by Krishand
For someone who talks nastyly with his subordinates and displays his most hostile side to the world, SI Sebastian’s (Prashant Alexander) attachment to a young widow is a strange paradox. The most striking stretch is their urgent, fruitless attempts to find a room for themselves. Then comes the best part when he cries like a baby after lovemaking.
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