Spoilers ahead…
Read the full review on Film Companion, here: http://www.filmcompanion.in/article/thondimuthalum-driksakshiyum-movie-review
Pay attention to the first few frames of a Dileesh Pothan movie: there’s a nutshell of the story-to-come. Maheshinte Prathikaaram (Mahesh’s Revenge), Pothan’s first film, opens with an image of rubber slippers being scrubbed thoroughly. It isn’t until interval point that we realise what this footwear will come to signify.
The opening frames of Thondimuthalum Driksakshiyum (The Exhibits and the Eye Witness) are less cryptic. They’re from a stage play, a love story between characters named Sreedevi and Devettan. He says: “I have got a job. I will now ask for your hand.” The similarly named Sreeja (Nimisha Sajayan, who’s marvellously real, right down to her unshaped eyebrows) will soon find herself in a similarly fraught situation, after she falls for Prasad (Suraj Venjaramoodu). He will tell her, “I will marry you.”
Is it too soon to be anointing a two-film-old filmmaker an auteur? Perhaps. But there is certainly a sense of a vision that makes scripts from two different writers (Syam Pushkaran wrote the earlier film, Sajeev Pazhoor this one) seem part of a continuum.
Continued at the link above.
Copyright ©2017 Film Companion.
Baradwaj Rangan 
MANK
July 3, 2017
The best movie of the year so far for me in any language. I never thought pothen could top maheshinte prathikaram, but he has. This is a masterpiece
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MANK
July 3, 2017
Brangan, you see how the subversion works in the casting too. Usually it would be a big star like Fahad playing the romantic lead and someone like suraaj playing the thief, but if that had happened the film would have lost it’s balance and it would tilted completely in the couples favor. Fahad should be given an Oscar only for agreeing to play this role. Which big star in any Indian language – including Malayalam- would have the guts to take up this role. After a really disappointing couple Of years ,i am glad that Fahad is back in form
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Sridhar
July 3, 2017
The review this movie deserved. Loved few observations like the beginning drama scene reference to story, reference to title and the comman man vs system subtext etc. Would love to hear your opinion on the scene where Sreeja reacts to her husband accusing her of carelessness. Although following the wife’s duties, has her own standing with just a single line. And the way Suraj handles it is a thesis of its own. Also, the one cinematography scene where the firecracker goes on to become dawn is breathtaking.
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anandgrafiti
July 3, 2017
There is also the very subtle narrative about the class hierarchy in Kerala within the first few frames. When Prasad leaves the temple premise few men standing behind a rickshaw offer him a drink. Srijas dad (we don’t know that yet) is one among them and hesitant to include Prasad , who is from Ezhava community(not told to us yet). Later the cause for the discomfort in accepting the pairs relationship is exposed beautifully in two scenes. Starts with a Chataya procession (birthday of Sri narayana guru, Ezhava reformar and spiritual guide) and Srijas mom and another lady is shown walking past it. The other lady taunts srijas mom asking if she’s going to join the procession. Taken offence in this question, as many upper cast (Nair perhaps) hindu keralites would, she shouts back – “why should I?” , clearly as expression of her displeasure. The other lady then pulls the dagger and says “oh forgot, srija should be the one going “… Cut to the next scene, we see the mother storming to the house and beating srija. Also when the crisis unfolds further, we see more details of prasad’s house where a picture of guru is stuck on a clock, as if to suggest the vanity of his efforts in the past to abolish class system in Kerala. What I love in Dileesh’s films is this sensitivity that no other film maker archives amongst his contemporaries.
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anandgrafiti
July 3, 2017
@Mank, I read an interview where pothan considered Fahad for playing the role of Prasad and it was Soubin Shahir who was in his mind to play the thief (would have been awesome too I feel) But Soubin got busy in the making of his own first film ‘Parava’ and the role went to Suraj and Fahad became the thief. As for other mainstream stars who has the courage to take this role, I feel many in Malayalam would have but few may have been this convincing. Mammooti had done many such films in the past, the most recent being ‘Munnariyippu’
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brangan
July 3, 2017
anandgrafiti: Munnariyippu is still a well-defined protagonists’s (or antagonist, if you like) part. He’s the “male lead.” There are many instances of a big star playing a negative character, but still being the male lead. This is something else, like an artier version of the ensemble work Fahadh Faasil did in Bangalore Days.
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MANK
July 3, 2017
That’s right Brangan, he plays just one of the protoganist in what is truly an ensemble piece. but the real greatness of the film is that inspite of its almost documentary like realism and authenticity, it’s still a mainstream film.this film takes it to the next level From last year’s action hero Biju in showing the ambiance of a real police station and real cops . BTW some of the cop roles are played by real policemen
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Aman
July 3, 2017
@MANK
Action Hero Biju was like a benami police production, for all its realism regarding police force it stands with them and no mention of bribery anywhere. Very problematic if you combine its watch with Visaranai, Kismath and how it stands with all the human rights violations.
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Anand Nair
July 3, 2017
Except for Alencier, rest were all actual cops. Also, as someone tweeted, Bijus police station was a facist celebration of a force, but here we see the more sympathetic representation of Police. At times it drew comparisons to Visaranai. While I agree that the role of the antagonist or the protagonist is undefined, this isn’t a truly ensemble film like say Bangalore days. Suraj is someone who can become invisible, a true commoner and not at all a big crowd puller in Malayalam. The point i guess i was trying to make was that mainstream young Malayalam actors do know what makes a good film and many would have accepted this role. Fact still is none would have been so convincing as Fahad.
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IMF
July 4, 2017
The best film I’ve seen this year and probably even last year combined, and I never thought Dileesh Pothan could top Maheshinte Prathikaaram. Oh boy, what an insanely good film.
BTW the best part of your review: “Filmmakers who take on heavy-duty conceits like the butterfly effect want us to note how clever they are, how tricky their narratives are. Pothan, on the other hand, seems to want to hide these designs. His films are so… unfussy. ” – nailed it. And he projects these films as ‘small films’, while the film is so richly layered with satire, (good) politics and mind blowing characterisations, that’s aided by marvellously minimalist dialogues from Syam Pushkaran.
I’m glad that this reminded you of Manikandan (who’s my favorite Tamil director from the current crop), but I would still add that Manikandan’s making is more cinematic (which is fine), while Dileesh is just going with hardcore documentary-esque realism and yet pulling off such great mainstream films. I can’t recall the last time when someone did this, let alone pulling it off. Maybe Rajeev Ravi, but even he had to compromise and go cinematic (viz Kammatipaadam) to sell his film.
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Vee Jay Chan
July 4, 2017
Camouflaging police officer without uniform, Flirting seminary student, Overreacting burqa-clad lady, Inter-caste issues, Two guys sitting on the bus stop and gossiping . Pothettan haven’t spared anyone and has satiristically, beautifully and realistically etched the character traits of each and every one who appears on the screen, even if they are only there for a few seconds or so. And loved that night-becoming-day-with-firework shot just before the climax.
Next level of Movie making !
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tonks
July 4, 2017
Lovely movie, thoroughly enjoyed it. The ending was so subtly depicted as to be a little ambiguous because people in our group had varied interpretations of what finally happened.
There was a barely noticed stumbling during the dialogue delivery of some of the actors playing policemen. I had not known they were real life policemen, that probably explains it.
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Badboy
July 4, 2017
After Sathileelavathy, another big actor in South India is willing to play just another character. Hats off.
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Manikandan
July 5, 2017
தொண்டிமுதலும் த்ரிகஸாக்ஷியும் – basheer on screen – like rain and sun – light and heavy – glittering precious playful mundane absurd tiresome – life is seriously funny seriously serious
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Rohit Sathish Nair
July 5, 2017
My very spoiler-heavy, and yes, flawed review. Almost like a report
https://rohitsathishnair.wordpress.com/2017/07/05/thondimuthalum-driksakshiyum/
It takes guts to make such a film in a mainstream environment. Especially for one’s second feature film
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MANK
July 5, 2017
Rohit, dey Mone neeyum ee panikkerengiya. 😂, Everybody is a critic now
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Rohit Sathish Nair
July 6, 2017
MANK:
Oru eliya shramamaanu Chettaa…
Aarum mosham parayaatthathu kondu cheruthaayittu ezhuthi pokunnu…
Ishtappetto?
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anandgrafiti
July 6, 2017
@Rohit loved loved loved it 🙂
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tonks
July 6, 2017
Spoilers ahead :
The ending seems to be that she admitted in court that the chain was a duplicate. In such a situation, would the the thief be let off due to a lack of evidence, as seems to be suggested in the movie? There is still the evidence of his crime in the chain seen in the X ray. So would he not get the full term?
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MANK
July 6, 2017
Rohit, I liked it. It was great 👍
Especially this
You’d think the choice of Fahadh for the thief is stunt casting, but consider this: as much as he is punched and kicked around, he is treated as a superstar, and he seems to like all the attention everyone’s giving him
It’s a less mainstream version of those characters that lalettan use to effortlessly pull off in Sathyan anthikkad films of 80s
Ninakku ithil nalloru baavi nan kannundu, ennalum padippu uzhappanda😀
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anandgrafiti
July 6, 2017
@tonks this is what i think. Since the ‘thondimuthal’ still not found, they could not for sure say that it was indeed her chain. Also she is the only eyewitness saying that. The legal system could take the discussion for ever, and on top of that both parties (CI Chandran who also got dragged into this in the end) may have wanted a peaceful way out and withdrew the case. I guess its not made clear if Prasad got a sentence or not. Except for the thank you letter, we don’t know much about the outcome. In some way it is similar to the way Potnan handled the closure of Maheshinte.
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Rohit Sathish Nair
July 6, 2017
MANK:
Illa Chettaa, uzhappilla. Thanks a lot!
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Rohit Sathish Nair
July 6, 2017
anandgraffiti:
Thank you!
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Supertramp
July 6, 2017
@Rohit Sathish Nair Very good one Rohit, keep writing. Malayalam cinema lack good reviewers and these film makers deserve better.
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Rohit Sathish Nair
July 6, 2017
Supertramp:
Thank you!
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Rohit Sathish Nair
July 6, 2017
Dileesh Pothan cited ‘Yavanika’ by KG George as a slight influence on ‘Maheshinte Prathikaaram’. We even see a song from ‘Yavanika’ play on a TV screen
Any ‘Yavanika’ or KG George allusions in this movie? Could the skit that begins the movie, be one?
Also, where can I watch online/download uncut versions of KG George’s films? Haven’t watched any yet
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Supertramp
July 6, 2017
@Rohit Yavanika is there on Hotstar with subs, check if there is other films too. Youtube has his films uploaded from unauthorized accounts. So can’t recommend though. I hope people like BR can find time and space to watch the legendary film maker and the likes of him along with the new age malayalam cinema.
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Supertramp
July 6, 2017
Ok just checked, Mattoral, Ee Kanni Koodi, Lekhayude Maranam Oru Flashback etc are there in hotstar.
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brangan
July 7, 2017
So I started warching Yavanika and guess what! The heroine in the play is named Sreedevi, like the heroine in the play that opens this film. The male names are slightly different – Jayadevan/Jayettan in Yavanika, Devettan here.
If you want to tug at this thread, both films are about an investigation…
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brangan
July 7, 2017
I have a question about Malayalam directors. Will put it down later. Someone remind me if I don’t get to it… 🙂
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Srinivas R
July 7, 2017
BR, now that you are reviewing Malayalam movies regularly, is it possible to interview Malayalam directors or actors? Alphonse Putheran or Nivin or Fahad Fasil. Anything planned on those lines?
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brangan
July 7, 2017
Srinivas R: Interviews with Telugu/ Kannada / Malayalam directors will happen soon. It’s something I’m putting together the logistics for.
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Rohit Sathish Nair
July 7, 2017
Supertramp: Don’t know… both the YouTube and Hotstar versions shows shorter runtimes than the ones specified in Wiki and IMDb. Don’t know if it’s uncut or not. Only Ee Kanni Koodi shows the right runtime
Rangan Sir:
Wasn’t the first play in that movie also about a couple in love and her family opposing it? That’s the only part of the movie I could watch till now
You were thinking of interviewing Rajeev Ravi 3 years back, as an extension of the e-mail interview? Plus, would really like to see cinematographers and editors being interviewed
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MANK
July 7, 2017
Yavanika is the nearest to perfection that I have seen on celluloid and bharath gopi the near perfect actor
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Rohit Sathish Nair
July 7, 2017
IMF:
‘Maybe Rajeev Ravi, but even he had to compromise and go cinematic (viz Kammatipaadam) to sell his film.’
SPOILERS AHEAD
I don’t think it’s a compromise he makes here so much as a middle ground he obtains in the film. After all, a lot of the film plays as an almost-dying man’s dream or stream of memories, so it’s fitting that we find both extremes here. Even the editing rhythms show this change.
For me, the film doesn’t end with Krishnan killing Aashaan, but with the question of whether he will survive the consequences of this act (hinted through the voiceover, the song and the last shot of him in the auto). The other two protagonists are also atoning for their mistakes by the end of their character arcs, and they are killed at their most helpless moment. Also, it’s a heroic deed by the least heroic person among the 3.
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MANK
July 7, 2017
Brangan what did you think of yavanika?. Did you like how he built up the suspense, as drama within the film
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Honest Raj (formerly 'V'enkatesh)
July 7, 2017
Oh, have been wanting to watch Yavanika for quite some time. Thanks
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thepuccacritic
July 7, 2017
What did you guys make out of that scene where Chandran(?), while in the chase and after getting a warning from his senior on the phone, rests for a moment on a dilapidated wall that has “VHP”, “ABVP” and “RSS” written on it?
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Honest Raj (formerly 'V'enkatesh)
July 7, 2017
An interview with Rajeev Ravi would be great. I’ve often wondered why DOPs refuse to handle the camera when they become directors. Even somebody like a Michael Chapman was no exception. Very few of them did – Balu Mahendra, Govind Nihalani, Santosh Sivan to name a few.
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Ratish Ravindran
July 7, 2017
I am yet to see the movie. But from the review i gather that the film making style is close to Chaitanya Tamhane’s brilliant film Court even though BR has mentioned that it resembles Manikandan’s film in its mood. I am talking of wide shots to capture more about the ecosystem that the protagonists exist in.
Of course in Court, the camera lingered on after completion of a scene depicting the protagonists to depict the larger ecosystem whereas here it is achieved through wide shots and using diffuse method of storytelling which BR has mentioned.
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IMF
July 7, 2017
Rohit:
//I don’t think it’s a compromise he makes here so much as a middle ground he obtains in the film. After all, a lot of the film plays as an almost-dying man’s dream or stream of memories, so it’s fitting that we find both extremes here. Even the editing rhythms show this change.
For me, the film doesn’t end with Krishnan killing Aashaan, but with the question of whether he will survive the consequences of this act (hinted through the voiceover, the song and the last shot of him in the auto). The other two protagonists are also atoning for their mistakes by the end of their character arcs, and they are killed at their most helpless moment. Also, it’s a heroic deed by the least heroic person among the 3.
//
Rohit, I’m not talking about the climax per se, but rather elements like the Jail fight (i.e. Dulquer’s “intro” fight), and other elements. He himself admits to it, that he had to make cinematic compromises for a wider reach. Don’t know why you’d claim Krishnan (Dulquer) is the ‘least heroic’ – and even if that were true somehow and the director intended it to be as such, Dulquer would be a really poor choice there. Hell, some even had a problem with Dulquer’s protagonist being elevated to hero at times, which made it look like another story of a savarna ‘hero’ saving/avenging the avarnas/dalits at core (although this is not the politics the film tries to espouse).
That’s why Thondimuthal turned out to be so good, had Fahadh been cast for Suraj’s role, the film wouldn’t have worked so beautifully.
Don’t get me wrong, I really like the film, and I’m a fan of Rajeev, but I would still say it pales in comparison with Annayum Rasoolum and Njaan Steve Lopez.
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Supertramp
July 7, 2017
@thepuccacritic That’s a bus stop, and thief even claims he kept the chain there on the insistence of ASI Chandran. In Kerala various bus stops are either made by political parties or used as an advertisement(?). Kasaragod has noticeable influence of Bjp and their ilk, and has been in the news for them beating up liberals(read communists) for showing up during temple fests like the one they show in the film.( Don’t know if the fight that break out during the fest is attributed to bjp, you can see a lot of men in saffron lungis). Considering the people involved in the film ( Shyam Pushkaran, Dileesh Pothan, Rajeev Ravi etc) are liberals it may have some allusion to violence propagated by these elements. I hope you got the caste references etc( like Sree Narayana Guru in a clock) earlier in the film.
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thepuccacritic
July 8, 2017
@Supertramp: Thank you so much for explaining. No, I didnt get the caste reference until someone in the above comments explained it. Thanks again.
@Ratish Ravindran: I was reminded of Court too, for the same reason that it goes into the lives of the characters and looks at them how they are placed in the ecosystem.
Also, the way information is revealed and how it puts the morality of characters in question, reminded me of Asghar Farhadi’s style.
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Ratish Ravindran
July 8, 2017
@thepuccacritic – Asghar Farhadi’s style – hmmm…..that is interesting. I had seen his Oscar winning Salesman and never realized its resemblance with that movie until you brought this up in your comment.
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Aman
July 10, 2017
brangan: I have a question about Malayalam directors. Will put it down later. Someone remind me if I don’t get to it… 🙂 //
What was the question Sir?
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MANK
July 10, 2017
Popular Malayalam Superstar Dileep arrested in conjunction with the molestation case that has preoccupied the state for months now. a shameful and black day for arguably the most respected film industry in the country. An extremely shocking development .Of course it’s an arrest and not conviction, but if these are the kind of people making movies, I fear for the future of this industry
http://www.thenewsminute.com/article/denial-arrest-timeline-dileeps-involvement-abduction-and-sexual-assault-malayalam-actor
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Manikandan V
July 10, 2017
Wonderful inferences – Vettukili Prakash about ‘Thondimuthalum Driksakshiyum’ – One of the Best Indian Movies ever made
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Jyoti S Kumar
July 11, 2017
MANK : entire Kerala is obsessed with this news. On one side I am feeling proud that the IPS officer in Kochi is a woman and also on seeing an autorickshaw-kaari two days back… On the other hand this news! My heart goes out to his child more than anything else
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Rohit Sathish Nair
July 12, 2017
We’ve heard of reel-life villains being supremely nice people in real life. We’ve heard of comic actors and comedians being depressed and meet a tragic end.
Now we have this, and trust me, no one wants more of his kind
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Rohit Sathish Nair
July 13, 2017
What’s the question?
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Anu Warrier
July 13, 2017
I’m glad he’s been arrested; unfortunately, I don’t think they will get a conviction. He has contacts. Poor Bhavana. (Before anyone points it out, of course I’m biased.)
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brangan
July 15, 2017
I wanted to ask who the real “directors” are in the mainstream Malayalam cinema of that era — in the Adoor sense, in the Aravindan sense, in the Shaji Karun sense, in the sense of staging and holding shots, crafting compositions, deployment of pace, using colour and light to create mood, and so forth.
From Yavanika, I get the sense of a beautifully written film, where the acting is tops and the flow of events is constantly meaningful and entertaining, but I don’t find much “directing” here.
So am I missing something? Or is KG George more of a great writer than a great “filmmaker”?
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Aman
July 15, 2017
I am sure there is more qualified people here to answer this question, but I will try to answer from what I have seen or understood. Many of the yester year or senior mainstream film makers are writer first directors. Padmarajan and KG George are prime examples of that( Again they were not really mainstream, but considered middle of the road film makers). In the case of Padmarajan, his films are writer’s films and some of this later films looks better directed ( Season, Aparan, Njan Gandharvan) to me than the earlier acclaimed ones. KG George is considered a master craftsman compared to his contemporaries. Irakal is considered his best work and looks better directed, other films i have seen are Yavanika and Panchavadi Palam. In the latter everything is intentionally over the top and played out like a outrageous satire( recent tamil nadu govt drama looked straight out of this film). Bharathan had to be the visual story teller among these middle of the road film makers which is attributed to him being a painter, sculptor etc.( Many of his films were written by Padmarajan and looked visually superior). Among mainstream films IV Sasi and Joshi(iy) made far too many films that looked lazily made, but at the same time some of them got staging, framing, mood and use of colors etc right. Crime dramas and thrillers written by S.N. Swami are examples of great writing and some of them looks better directed ( Joshi, K Madhu) , but Joshi’s later films in 2000s make the direction in those S N Swami films look incidental. Mise en scène in earlier Priyadarshan comedies, again he has vast volume of work, always looked good and his ability to stage visual comedy is second to none. Sathyan Anthikad films, again a writer’s director. also managed to use visual comedy very well. Your query has got me thinking and I think most of mainstream malayalam cinema was about writing in the earlier eras, may be others can add more to this discussion. I think mostly parallel film makers were the ones that predominantly thought about framing, staging etc before this influx of new age directors in the 2010s.
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Aman
July 15, 2017
P.S: I think considering the breakneck speed with which some of these mainstream film makers churned out films only some of them look film maker’s films. So it’s easier to pick films that are well made than the makers.
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Drunken Monkey
July 15, 2017
Beautifully written!
He gets a smoking habit, a wife who gently chides him, a daughter. Whether you feel you need to know so much about a secondary character will determine your response to this film.
That seriously says it all.
Right at interval, it hit me that whatever the thief is doing to the other characters in there, the director is doing exactly the same thing to us.
And that vedhalam-on-tv reminded me that with thondi and angamaly we have had our quota for this year. It’s already time for Vivegam & Mersal.
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Anu Warrier
July 16, 2017
With regard to your question, I’m thinking of KS Sethumadhavan. Whether he ‘staged’ his scenes is something I’m grappling with, given that I watched ,most of those films in my teen years.
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Jphil
July 16, 2017
Ah BR, your question about Malayalam directors is one of my pet peeves. I think Aman is quite right : there were very many writer-directors but almost none who were craftsmen in the way you wonder. The budgets seem to be the issue. That said , some of Bharatan’s work was well crafted. Sporadic works like Hariharan s’ Amrutham Gamaya’ or the Santosh Sivan shot ‘Perumtachan and Sreenivasan ‘Vadukunooki yanthram’ were composed with some care.
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Honest Raj (formerly 'V'enkatesh)
July 16, 2017
Watch from 8:25. 🙂
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brangan
July 16, 2017
Thank you, Aman and JPhil. I thought so. Because even in that K Balachander thread, we were discussing how it was a combination of theatre/cinema mise en scene — so was wondering if any Malayalam filmmakers were “pure” filmmakers in the 80s/90s — other than the art film makers, who really studied cinema. I mean, you may or may not like the philosophy in Kanchana Sita, but a purely cinematic level, it’s always interesting — and that I don’t find in something like Yavanika.
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Aman
July 16, 2017
Jijo Punnoose was considered a pure film maker, but he made 2 films only ( Padayottam and My Dear Kuttichathan). Director of Perumthachan (Ajayan) made exactly one film. Some of Jayaraj’s films look very well made. Interestingly both films by Sreenivasan, mostly known as a writer, look ‘directed” than the ones he wrote for some others. Raghunath Paleri, another well known writer, when made debut as a film maker made a very aesthetically pleasing ‘Onnu Muthal Poojyam Vare’ with great sound design.
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Honest Raj (formerly 'V'enkatesh)
July 16, 2017
Aman: What about P. N. Menon? Haven’t seen any of his films but have heard good things about him.
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Ratish Ravindran
July 17, 2017
Talking about “Real Directors” would like to add my 2 cents to it. In the 80’s and 90’s Hariharan (Oru Vadakkan Veeragatha, Sargam) and to a lesser extent Bhadran (Iyer the great, Spadikam) made movies with craft and chutzpah, though of both of them did not study filmmaking formally in any institute.
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Rohit Sathish Nair
July 19, 2017
I was watching K.G.George’s second last movie ‘Ee Kanni Koodi’ and yeah, I felt something similar. The dialogue delivery was outright theatrical for one, but you still get the sense that he is using the camera as an instrument.
About the theatre/cinema mise en scene: Whenever the police officer is convinced that a witness is stating the truth (it is a procedural), he places both actors at the same distance w.r.t the camera, just like actors who are in the middle of a conversation are positioned on stage in a play
For me, the film was at times frustrating, but it scores just because it strives to be different from tons of other investigation thrillers
Also, characters speak very good English in this film. Even phrases like ‘veritable shipwreck’ don’t sound alien to these mouths. What really happened after the late 90s?
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Rohit Sathish Nair
July 19, 2017
Just watched ‘Thondimuthalum…’ a 2nd time last week:
SPOILERS AHEAD
The protagonists’ native place being Alappuzha doesn’t seem to be so much of an accident. Every other scene in those portions has water in some form or the other (the backwaters and even a bathroom for the confrontation scene). Now water, and the colour blue, are more or less absent in the Kasaragod portions (the justice metaphor), and both these make a reappearance in the final scenes (Fahadh’s final scene has a blue tinge, all people on the streets dressed in blue or white, maybe because it is Mumbai)
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Rohit Sathish Nair
July 19, 2017
I think both these motifs can be seen in ‘Annayum Rasoolum’ and ‘Kammatipaadam’
AR’s opening shot is an overhead shot of a ship’s bow slicing across ocean water, and it is water that at once binds them and separates them.
In ‘Kammatipaadam’ it is never shown to rain in 30-40 years in this rainy city (except during the present-day wedding party) and we see yellow going from inexistent (in the ’80s portions) to ubiquitous (sodium lamps everywhere in the present)
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Supertramp
July 19, 2017
@Rohit It was intentional to contrast between Alappuzha and Kasaragod. How the couple was ousted from there to the barren land of Kasaragod and is in search of water to start tobacco farming( That place in Kasaragod is known for Tobacco farming). There was this dialogue that didn’t make the final cut where Sreeja says to the thief “I come from a house where we had a pond to wash the utensils”. They decided to show it visually in songs ( the pond at home) and the visual contrast between both places made the need for such a dialogue redundant.
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MANK
July 19, 2017
Brangan, i am surprised that you dont think Yavanika is well directed. it wasnt just transferring a well written screenplay. how about the way he contrasted the scenes on stage with the scenes behind the stage. When you have a play being performed in the film , the camera takes the position of an observer and is pretty static, but it goes behind the scenes, the camera moves are faster, the editing cuts become quicker. How about his staging of the scene where Gopi molests Jalaja the first time, or even the climax scene where Gopi is killed and the scenes post that of covering up the crime
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brangan
July 19, 2017
MANK: When you have a play being performed in the film , the camera takes the position of an observer and is pretty static, but it goes behind the scenes, the camera moves are faster, the editing cuts become quicker.
But that is a function of the stage vs life. When you are filming a play, you are bound by the fact that all the movement takes place within a “box,” so when you are outside the box, you are going to be somewhat still, and when you break away and begin to follow actors, the movements are going to be more kinetic.
But that said, I’m not saying this is a badly directed film.
There’s a scene where Gopy returns to the troupe after storming away (because he cannot get a job elsewhere and he really needs the money), and we see discussions on for the next play. The actors are seated in a circle. We think the entire cast is in that circle. The camera begins to do a 180 around them, but stops at 90, which is when we see that only some of the actors are in this circle. Straight ahead (from the camera POV now), we see Gopy playing cards in the adjacent room. Not only is this a great visual thought — because you expect a 180, but the image ‘breaks’ and becomes something unexpected at 90 — it’s also an indication of how Gopy may have returned, but he’s still separate, still not entirely a part of this troupe.
And yes, there are such moments every now and then. But what I was asking was about pure craft in a director, and I find Yavanika still a very script-dictated film for the most part.
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Honest Raj (formerly 'V'enkatesh)
July 19, 2017
BR, maybe, a post on director’s craft would be really helpful for us.
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sai16vicky
July 22, 2017
BR, Priyadarshan had some great directorial touches in the early stages of this career. My favorite one is from ‘Chithram’, where Nedumudi Venu realizes that Ranjini is beginning to fall for Mohanlal. Of course, a boring way of doing this would be he asking her explicitly and she responding. Though this eventually happens, Priyan stages this beautiful precursor, centered on the dinner call. These are flashback scenes that run in Venu’s mind:
Flash 1: With hatred.
Ranjini: Uncle, oonu kaalaayi! Varu! Dhey, aa “kazhudheyinum” koodi vilichondu varu.
Translation: Uncle, food is ready, call that donkey too.
Flash 2: With a little bit of interest.
Ranjini: Uncle, oonu kaalaayi! Varu! Dhey, aa “matteivanayum” koodi vilichondu varu.
Translation: Uncle, food is ready, call that guy (without respect).
Flash 3: With respect and interest in him.
Ranjini: Uncle, oonu kaalaayi! Varu! Dhey, aa “pullikaaranayum” koodi vilichondu varu.
Translation: Uncle, food is ready, call that man (with respect).
Flash 4: She has fallen for him!
Ranjini: Uncle, oonu kaalaayi! Varu! vilichondu varu.
Translation: She doesn’t even want to mention his name now, overcome by her shyness.
This really shows a strong directorial presence, reminding me of how Suhasini’s changed in mind is shown by the daily magazines in Sindhu Bhairavi!
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brangan
July 23, 2017
sai16vicky: Sigh. That is not direction. That is the screenplay. Unless, of course, you referring to something in the actual staging.
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MANK
July 23, 2017
i see that Brangan is driving everybody crazy with his theories on screenplay and direction 🙂
i think these 2 scenes from thenmavin Kombathu could be called prime examples of great staging and direction from Priyadarshan.That’s if Brangan has other ideas. 🙂
the first scene beautifully brings out both the fury and the undercurrent of eroticism and sexual tension that has been there in the mohanlal – shobhana relationship up until that time.shots of ornaments rolling on the ground being symbolic of passionate love making with furious thrashing of clothes in the water in the background
the second scene is where both confesses their love for each other in their own abrupt way
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brangan
July 23, 2017
MANK: What you’re talking about is the staging. The earlier comment was about a series of flashbacks or magazines being slipped under a door. These come under screenplay, and it’s not just my theory.
HOW these flashbacks are staged, though, is a director’s vision, and I haven’t seen the Malayalam film, so I cannot say. But at least in Sindhu Bhairavi, that bit is not “direction.” That’s more of an idea thing.
I am not trying to imply a concrete wall between the two aspects, but a lot of people use the terms very, very loosely, and it’s important to know what ON PAPER is and what ON SCREEN is.
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MANK
July 23, 2017
Chill out Brangan Saar. I was just kidding with you. That scene in chitram is more of an idea like in SB
It’s just that sometimes when screenwriter and director are the same person,- as in the case of mani or priyan -I think these things do overlap
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Aman
July 23, 2017
Priyadarshan’s Chitram can be used as example of good staging I think, not the way sai16vicky mentioned it. I mean there’s this scene where Mohanlal threatens to leave coz Nedumudi refuses to pay his daily wage for acting as the husband. The whole room, stairs etc are used for comedic effect. Mohanlal is simultaneously going up and down the stairs while packing and arguing and Nedumudi stays in the living room giving no damn. This can be seen in other films too where the comedy isn’t just through dialogue, but sometimes the visuals take precedence and the dialogues are just aiding what happens on screen.
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Honest Raj (formerly 'V'enkatesh)
July 23, 2017
Isn’t Thazhvaram a well-directed film? (planning to see the whole movie sooner) Looking at the climactic portions (especially the action scenes), I think it’s up there:
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sai16vicky
July 23, 2017
Apologies, BR. I think I understand the difference now.
Thanks MANK and Aman for bringing good examples from the ‘staging’ part.
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Madhav
July 23, 2017
MANK: That scenes and the movie Thenmavin kombath are classic examples of craft. Priyan indeed was one hell of a talent all those days.
BR: I appreciate what you are saying about Yavanika’s direction, which I agree with.
If you can, try to watch Thazhvaram (1990). It is widely touted to be one of the best directed film ever in Malayalam. Directed by Bharathan, scripted by MT Vasudevan Nair and starring Mohanlal and Sumalatha, do watch it if you can get a subtitled good quality print. Will be looking forward to hear what you thought of that film (esp regarding direction). 🙂
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Honest Raj (formerly 'V'enkatesh)
July 23, 2017
MANK: Not to take anything away from Priyadarshan but, to me, it appears that the scene shows the brilliance of K. V. Anand – the lensing (whacking?) stuff is truly amazing.
Btw, it seems KSR tried to do the same thing in Muthu. 🙂
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MANK
July 23, 2017
honest Raj, thazhvaram is a masterpiece. don’t miss it. its the greatest tribute to sergio leone westerns that ever was in indian cinema. and with lot of film noir undertones. The duel between hero mohanlal and anti hero salim ghouse is more on a psychological level . this is director Bharathan at his peak, with less than half a dozen characters and almost the entire story unfolding in a single location
There are very few directors who can top an MT script. what they usually do is just transfer his screenplay on to screen without attempting any directorial touches. so in all those films , the voice of MT is the one that is most pronounced. Bharathan is the only director who went beyond MT’s screenplay and put his stamp on the film . Both his collaborations with MT- Vaishali and Thazhvaram – are the apex of visual storytelling.
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Supertramp
July 23, 2017
Thazhavaram is available with subs on hotstar, good subs.
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Honest Raj (formerly 'V'enkatesh)
July 23, 2017
MANK: I don’t know but I must have watched this clip 20-30 times ever since I stumbled upon it. Is the film available with subtitles anywhere?
The score is amazing. Is Johnson the Malayalam cinema equivalent of IR?
Sure, Bharathan knew how to create “mood” but was he consistent like Mani Ratnam? Thevar Magan is largely a script-driven film (for obvious reasons :P). On the other hand, a very old film of his, Aaravam (not a great one story-wise), seems to rely much on visual storytelling.
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Aman
July 24, 2017
Some of the comedy films of late 80s and early 90s had good ideas regarding staging with good ensemble cast doing great stuff with timing. Even some films by non-descript directors. Consider a film like ‘Mookilla Rajyathu’ ( although inspired in parts) where the comedy is very unique ( even Wodehouse like) and the staging is in a way that allows 4 terrific comedy actors ( Thilakan, Jagathy , Mukesh and Siddique) to perform with in that space. Consider that too new age comedies where mostly action-reaction shots and comedy is reduced to counter dialogues. In all other genre malayalam cinema seem to be getting better at making, but pure comedies have seize to exist and the ones that are there are mostly badly made skit level comedies. Of course there’s always humor elements in all the other films, but no longer get to see anything in the level of CID trilogy or numerous Priyadarshan/Anthikad films.
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Madhav
July 24, 2017
What MANK told about Thazhvaram is perfect. The script/screenplay by MT, itself would have been well enough for this movie to be great. But Bharathan decided to take it to next level and made it his best work ever (Vaishali too would be close). The sheer mastery and brilliance of Bharathan looms even above MT in this movie, and can perhaps only be rivalled in equal measure by the stunning perfomance of Mohanlal (and others in the cast) in the movie.
Also as HonestRaj mentioned about Johnson master, his score is magical in this film. Yes, i think he can be called the IR equivalent of Malayalam cinema with regards to BGM scores. He was one of the greatest song composers in Malayalam cinema as well, but during his times the industry was blessed with many excellent composers including legends like Raveendran Master and also masters from other industries very prominent in malayalam like IR and Bombay Ravi (some of these composers did Bgm scores too). But it was Johnson who mostly ruled the BGM scores in mal movies. He did BGM for many movies where he wasn’t the song composer. And what classics!!! From Thoovanathumbikal to Kireedam, Perumthachan to Manichitrathazhu, his music will speak for him for eons.
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Vinay Warrier
November 23, 2017
Gave a strong asghar farhadi feel. But the high octane moral conflicts are replaced by subtle tickles of black humourish rooting dilemmas. Watched this film only now, and followed it with Newton. Somewhere I wonder why Thondimuthalum didn’t go for Oscars nomination entry. Action Hero Biju meets Visaaranai. The caste undertones are utterly fascinating.
As always, insightful review that accentuates our thoughts about the film. 🙂
~ @opunsoars
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krishikari
November 23, 2017
“Action Hero Biju meets Visaaranai.” Yes. Exactly. Enjoyed the film and this review so much. All the actors were good, but Fahad Faasil was just extraordinary in this petty thief role. And that chase sequence! Along with that one from Lootera, it’s so interesting to watch. Someone should do a compilation of these foot chase scenes.
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