Devasuram and Manichitrathazhu, two of the most popular and iconic films in Malayalam film history were both released in the year 1993. In the years preceding their release, they have achieved mythic status in pop culture and solidified forever Mohanlal’s reputation of being one of of the greatest and most versatile star actors in the country
So the myth goes that, in the search of the Holy nectar, Gods and Demons were engaged in the churning of the sea. Both of them were prompted by the desire to get nectar and be immortal. But as it happens, if you churn things, you will get both good and bad products. This is what happened with this Palazhi madhanam too. A vicious poison named Halahala emerged. It seemed fatal enough to destroy the universe.. . Lord Shiva decided to gulp the poison to protect the universe from destruction. He took the poison to his mouth and poured it in. Goddess Parvathi, his wife, seeing this held his neck so tightly that the poison never went down to his stomach. It got stuck in his neck turning it blue, thus earning the lord the sobriquet of Neelakandan.
Neelakandan or rather Mangalasseri Neelakandan is also the name of the protagonist played by Mohanlal in Devasuram . It’s a modern version of Lord siva. As the title of the film signifies, it encapsulates both the Deva(benefactor) and Asura(destroyer) aspect of Siva The film proved to be a major change for Mohanlal , who was till then playing more real life characters, more boy next door type . Not that he hasn’t played larger than life roles before. Just a year before he had played Lord Siva equivalent in Rajashilpi, a very underrated film by R. Sukumaran. His siva tandavam from that film is very famous
But that was more an art film which didn’t get much love from the audience. Devasuram was a full blown masala film with a mythical narrative arc that was something new in Mohanlal’s career .A real life character named Mulasseri Raju was also an inspiration for writer Renjith in molding the character of Neelakandan. So there is both Mythical and real life dimensions to the character that Mohanlal brings out brilliantly.
Neelakandan, in the film, is as an arrogant, racist, sexist ,feudal lord who through the course of the film has a character transformation due to the influence of Bhanumathi , the classical dancer . The film’s 3 acts deal with the zenith, the fall and resurgence of Neelakandan. He loses his wealth, power and his own physical self, the poison he is forced to drink as a result of his bad karma – of feudal excesses, tribal rivalries, misogynistic insults- that’s until Bhanumathi, played by Revathi, take hold of him and nurses him back to life. His feudal rival, Mundakkal Shekharan, who destroys him physically and leaves him handicapped for life, is the physical representation of the demon residing in him that is continuously eating away his soul. But Bhanumathi, Like parvathy in the myth , intervenes to stop the demonic poison from spreading into his soul and spirit and destroying him completely. She slays the demon inside him through a mixture of her art and affection, which subsequently brings out the god inside Neelakandan, enabling him to slay his rival Shekharan in an mythic climax that takes place in a temple. The act of cutting of Shekharan’s hands at the end is symbolic of cutting out the demon residing inside him
If the inspiration for the protagonist in Devasuram was Lord Siva, then Mohanlal’s character Dr. Sunny Joseph in Manichitrathazhu seems to be modeled after Lord Krishna and the film plays out as a modern version of Poothana moksham. In that mythical tale, Poothana , the demoness takes the form of a beautiful women and comes to kill the baby Lord Krishna by breastfeeding him. Krishna ,in turn sucks the poison out of her breasts and kills the women and sets the demoness free thus providing her Moksha. The story formed the basis of one of the most famous Kathakali performances and in an ironic twist Mohanal himself would play poothana as part of his national award winning film Vanaprastham.
The film, on the surface, feels like a psychological thriller but at its core, its a quasi masala film where the basic theme is again about God slaying the demon in a apocalyptic climax. Unlike in Devasuram , where the the male protagonist possesses a dual personality, here it’s the female protagonist. Ganga , played by Shobhana, who comes from Kolkata with her husband Nakulan to his ancestral house Madampally, in Kerala, appears to be a regular modern malayali women. But events reveal that there is more to her than meets the eye Madampally has been surrounded with rumors of ghostly spirits and witchcraft. Legend is that once upon a time, Nagavalli, a Tamil danseuse was ruthlessly murdered by the feudal lord of the house in an act of crime of passion and her spirit wanders around the premises seeking revenge. Her spirit was finally captured through witchcraft and forever put away to the southern part of the house referred to as thekkini. Ganga opens the Manichitrathazhu -ornate lock – that had locked out thekkini . Once it is unlocked, She begins to transform into Nagavalli from the inside as if she has been possessed by her spirit and starts terrorizing the members of the house.
Dr Sunny, a famous psychiatrist from America is summoned by his good friend Nakulan to remedy the situation. But unlike in the myth, before Dr Sunny’s Krishna can slay the demoness, he has to first identify who poothana is in the midst of several members of the Madampalli family . Ganga who, in her Nagavalli avatar, is haunting the place has successfully managed to keep her identity secret.. Like Krishna, he adopts the most unconventional and even questionable ways for achieving his goals. He lies, distorts, misrepresents, frolics, and seduces his way through the maze of the ancestral family until he zeroes in on Ganga as the demoness stalking the family. But in his typical style, he uses Sreedevi, Nakulan’s cousin, as the decoy to divert attention away from Ganga till he can find a solution for her affliction. In the end he uses a mixture of modern science and the traditional tantric practices to cast the ‘demon’ out of Ganga forever. Its not just Ganga he provides with eternal salvation, but also Sreedevi. Sreedevi is considered a cursed spirit and damaged goods within the family , since she has been abandoned by her husband due to astrological reasons.Sunny’s promise to marry her at the end in a way is akin to lifting her ‘curse’ as well
It would take one hell of an actor to pull of these 2 diverse roles within a calendar year and Mohanlal, in the year 1993, was exactly that actor. He was at the height of his powers at the time and effortlessly pulled off both the ferocious masculinity of Neelakandan and the effete intellectualism and tact of Dr. Sunny. Both these films\Performances came practically at the end of the golden period of Malayalam mainstream commercial cinema, which extended approximately from 1986 to 1995. These 2 films, released for the festival seasons of Vishu and Christmas respectively, was perhaps the final bolt of artistic lightning as Malayalam cinema would soon fall into a period of darkness where ambitious mainstream cinema would disappear , in turn replaced by cheap imitations of old or other language films.. Mohanlal had about half a dozen releases that year , but these 2 are the ones that became crown jewels in his career
Both the films share a lot of similarities as well as some contrasts. Both deals with events taking place around an upper caste ancestral House, in Devasuram its Mangalasseri, in Manichitrathazhu, its Madampally. Both deals with dual personas residing inside the lead protagonists. In Devasuram its a male and the duality is on an emotional level. In Manichitrathazhu, its the female and the duality is psychological. Both films deal with the conflict between modern and traditional, The feudal power structure immersed in superstition, patriarchy and caste supremacy being questioned or refined by a new force rooted in art and science. Both films had very strong female characters who in some way is out to question and refine the male dominance prevalent in the Kerala society. The films offered the best of characters for both Revathi and Shobhana . Showcasing not just their acting prowess , but also their skills at classical dancing.
Both can also be looked on as some kind of spiritual time travel films. The characters makes journey from past to present and vice versa.Neelakandan is a man living in the past, The feudal kerala of class and caste hierarchies. Where a man’s worth is valued based on his bloodline and the family he is born into. where women are nothing more than instruments of pleasure. Where he has a group of vassals who is there to serve him and execute his every command, Where every conflict is resolved through violence. His insulting of Bhanumathi and her standing up to his bullying becomes the catalyst for his change. Him being stripped of his illustrious bloodline followed by the defeat and handicapping at the hands of his arch rival Shekharan in a violent skirmish is akin to his death. The death of both his proud , egotistical persona as well as the old world he inhabited. From then on, film deals with his torturous journey from past to the present. Its practically a rebirth that happens to him, as he learns new life lessons while recuperating from his lifeless state. He slowly transforms into the modern man who learns to value the worth of women and the pointlessness of violent conflicts. Its only when he is provoked at the end, when his women is taking away from him, that he is forced to resort to violence again.
Ganga, on the other hand is a women of today . She is well educated and brought up in a modern metropolis like Calcutta. she appears to be happily married to her Engineer husband.. She is the last person, one would suspect to be swayed by superstitions and ghost stories. But She in a way symbolizes the modern malayali women (and men), who on the surface appears to be reformists and progressive, but underneath are still wedded to the patriarchal , feudal past. In a way, She is opening the locks to a part of her own psyche that has remained hidden from herself. The act of entering the forbidden Thekkini has the same effect as getting into a time machine and traveling back in time to a Kerala mired in feudalism, casteism and superstition. The Kerala that Swami Vivekananda referred to as a lunatic asylum in the 1890’s . Its interesting to note that when we first encounter Sunny, he is dressed in saffron robes and turban , almost a spitting image of Vivekananda. Sunny surveying Madampally, now no less a lunatic asylum with a psychotic women running amok, is no different than Vivekananda surveying the Kerala of the 1890’s . The fact that Sunny is a Christian, and a man of science trying to ‘reform’ an orthodox upper class Hindu household and his joining hands with a traditional tantric , Pullatupuram Brahmadattan Namboothirippad, played by Tilakan, could be a nod to the work of Christian missionaries , rationalists and reformist giants from the Hindu community itself, coming together to reform the kerala society from the social evils of the times into one of the most progressive societies in the country
Technically, Devasuram is a more classical film . It is evenly paced, Mohanlal’s acting style also complement the classical nature of the film. he takes a beat or two longer ,to say his dialogues and in his movements. Once Neelakandan becomes immobile, the pace of the film also slows down to complement this. The climactic battle between Neelakandan and Shekharan is one of the greatest masala moments in movie history where mass and masala mix together seamlessly. Both Mohanlal, the actor and Neelakandan, the character earns the audience applause through their brilliant work up to that point.
In contrast Manichitrathazhu is more fast paced and more darker film. the screenplay is very economical , edgier and very daring. Take the placement of the song Pazham thamizh pattizhayum, it just comes out of nowhere , but it works superbly in the context of the film. But the climax is as thrillingly masala as Devasuram, except Dr sunny is fighting with his intellect rather than physique . Mohanlal’s performance is again keeping in tune with the daring nature of the film’s narrative. He pretty much skates on the edge of being real and over the top . Its a genius performance where one feels he is going to fall over anytime, but he holds it back just enough for it to work brilliantly. He starts out behaving more as a lunatic than a psychiatrist, but we soon realize that, he is cooking up a theatrical performance to nail the psycho in the house.A very surreal performance to match the surreal nature of the film.
Speaking of songs, both films are also true musicals, were music forms an integral part of the narrative, both in plot and character development as well as setting the mood of the film. M.G.Radhakrishnan scored both films and each boasts of some of the all time popular songs
Both these films also marked the last milestone in the careers of its directors I.V.Sasi and Fazil. Both were the superstar directors of 80’s who would fall by the way side in the 90’s . Sasi never made a good film after Devasuram and fell from grace pretty soon. Fazil continued producing and directing movie in the 90’s , but without the earlier success. Almost 10 years later, he would try to duplicate Manichitrathazhu with another Mohanlal starrer Vismayathumbathu, An atrocious film that is remembered only for being one of the debut vehicles of actress Nayanthara
As for Mohanlal, the success of both films turned out to be a boon and bane, boon because he was able to explore and showcase a new facet of his talent. But he was forced to do umpteen iterations of these 2 characters in far inferior movies. Devasuram inspired a plethora of movies termed Thampuran films,like Aaram thampuran, narasimham, thaandavam etc, and with each one , the quality kept coming down. The writer Renjith would go on to direct Raavanaprabhu, which he calls a sequel to devasuram , but it is nothing more than an attempt to class up a very crass commercial film which had neither the depth or the subtext of the original. One can see the influence of these 2 films in Lal’s latest release Odiyan, where again he plays as a version of God demon where its left to audience to judge whether he is actually practicing a traditional skill or someone blessed with superpowers. His upcoming release Lucifer also looks like another version of the same character. But the constant imitation of these films have in no way lessen their impact and they still retains their freshness and greatness even after two and half decades.
By MANK
Gautham Jayan
December 27, 2018
Hi Mank,
Good write up. Really enjoyed the piece. Even now, whenever Manichitrathazhu comes on TV, I would watch it as the enthusiasm of watching for the first time though I know its the umpteenth time. Its a classic. And in my list its the best Malayalam Movie ever.
Also, the comparison of Dr Sunny with Krishna, that idea didn’t strike me until now. It was great.
Expecting more Write ups from you. And can we please get your Odiyan review too. @Brangan- Please
Also, you can catch my Odiyan Review too.
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Venky
December 27, 2018
Years preceding??? What, the audience suddenly became clairvoyant in those times, huh?😂 Also, the comparison with Lord Shiva and the mythological stories don’t gel well with bad/good karma, racist feudal lord etc in the film, and looks forced. The Krishna comparison with Sunny feels more natural.
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Sreehari
December 27, 2018
MANK, as always very interesting. Have been following the breadcrumbs you lay out, just so that I can understand the term ‘masala.’
But Devasuram is a full-blown masala Film. Really?
Manichitrathazhu is a quasi-masala film?
What is Vidheyan, then? An artistic version of a masala Film?
Elippathayam? A masala film where the masala elements have all be carefully drained out and replaced with ‘life.’
I personally believe the the obsession with that term should stop, but are you otherwise implying that anything that’s not obviously arthouse, can be seen as some variation of masala? You understand I am not mocking here; just baffles me that you would call Devasuram (despite it being a proper mainstream film and whatever debt all those subsequent superhuman films owe to Devasuram) a masala film.
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Marcus
December 27, 2018
I am a great fan of Mohanlal. But MANK, i am sure that he is himself bored with playing similar characters. He is probably looking out for new opportunities.
We all are as good as the opportunities that life throws at us – irrespective of talents. It is what it is. But take Aamir for example in Bollywood – he himself said that it took him 20 years of struggle to do his work in his own way, and for enough people to believe and trust him to deliver decent results. And Nitesh Tiwari Sir has nodding enthusiastically when he said this in the same frame (and onscreen too!).
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Marcus
December 27, 2018
And not just Mohanlal, I am an equally proud of my bald plate and baby fat … makes me look ‘old’er.
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Marcus
December 27, 2018
And Taare Zameen Par was surely Aamir’s phd in film-making? Not sure he meant it to be, but it was a turning point for him in my books.
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Marcus
December 27, 2018
or maybe toh was? that will perhaps depend on toh ‘C’hina results …
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Anu Warrier
December 27, 2018
MANK, perhaps I’m alone in totally disliking elements of Mohanlal’s performance in Manichitrathazhu. To me, his characterisation was so OTT that he seemed to have wandered in from a Priyadarshan film. Don’t get me wrong – I rank Manichitrathazhu very high as a film. But I do wish Mohanlal – who’s a fantastic actor by any standards you want to measure him against – hadn’t diluted his performance in this film.
And I do think you’re stretching the mythological analogies a bit. Krishna and Poothana moksham? Really? 🙂
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MANK
December 27, 2018
Thanks everyone
Venky and Anu, i respect your opinion. I am in no way saying that this is how the directors intended it. It’s a reading of mine which i may or may not be able to convince you through my statements here. Anyway there is never a definite piece on any work of art. It’s always intended as a first step in starting a conversation about the films
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MANK
December 27, 2018
Sreehari, I have a few thoughts about what constitutes masala, but I don’t have the time to get deeply into that now.Devasuram has those qualities. A mythic narrative, Godly hero and denonic villain whom he must overcome. Hero traversing an arc . The heros faithful friend, character etc. Manichitrathazhu has elements of other genres like horror or psycho thriller.its not pure like Devasuram, hence I called it quasi. Vidheyan and elipathayam don’t have a mythic overview, and characters are humans not archetype of gods. Devasuram is like Zanjeer to vidheyan s Ardh sathya
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MANK
December 27, 2018
Anu, regarding mohanlals performance, i think there is a method behind that madness. It starts out OTT, but as film progress, the nature of his acting changes no?. The scene where he explains gangas sickness to nakulan and discussing the issue with tilakan and all, he is all intensity and control.
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brangan
December 27, 2018
I agree with MANK there. I see masala cinema as something different from the ‘mass’ movie in that it has mythic resonances and a good vs evil world-building.
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Venky
December 28, 2018
And I yours, MANK. I was also just giving my opinion on your piece. As you say, you have started a conversation. I am continuing it, that’s all. This is not about whether the director intended it or not. It’s purely our own intentions and imaginations. While I could agree with your Krishna-Sunny comparison, Anu couldn’t. And I found the Siva-Neelakandan comparison awkward for the reasons I cited in my earlier comment. That is my reading of the movies and your piece. Overall, your write-up is definitely food for thought. I just wish it had fewer typos in it. The one at the very beginning, for instance, is very awkward!
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Anu Warrier
December 28, 2018
MANK, Manichitrathazhu had three unit directors other than Faazil. I’d wager my last penny that the OTT portions were directed by Priyadarshan. Yes, there were some portions where he was really great, but that OTT-ness took away from what could otherwise have been a great film, not merely a really good one. Some of the humour (with Pappu) was crass, and the whole interaction with KPAC-in-the-bathroom (where, apparently she wasn’t there and didn’t know about it) was so unnecessary to the plot OR the character.
Honestly, this film was owned by Shobhana (and the two women who dubbed for her). If I had to choose films to showcase Mohanlal’s sheer talent I wouldn’t add Manichitrathazhu to the list. YMMV.
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Nithin
December 29, 2018
MANK, an interesting and indepth take as usual on two of the milestone characters/performances in Malayalam cinema.
Devasuram is a sort of Godfather of Malayalam cinema not only in the way it generated a huge cult fan following among public even to this day, but also in the way it keeps on inspiring generations of filmmakers (including new gen directors like Lijo Jose Pellissery who referred/paid tribute in Angamaly Diaries).
And the great thing about Lal’s performance in Manichitrathazu is that he plays such an eccentric character as psychiatrist (that it is genuine to doubt if he ain’t somewhat mad himself) but keeps it at knife sharp precision from getting it out of hand. Yes we can attribute in the character of Dr.Sunny some qualities of Lord Krishna where in he is playful, cool, mischevious, not bothered by mockings and abuses from others, but operates at an intellectual level that ordinary ones can’t fathom, all expressed beautifully by Lal in a way only he can.
Shobana’s performance in Manichitratazhu is also one of the greatest female performance in Indian cinema, but while most of it is towards climax (from Vidamatte scene) , the performance of Mohanlal is equally stupendous, with him dealing and carrying together even more trickier parts of the film.
One thing I may add is that as unthinkable as it may sound, these two incredible Lal performances have a rival from the same year 1993. It was another Mohanlal classic Chenkol. Though not as much celebrated as the other two or it’s original prequel Kireedam, nevertheless for cinema lovers it’s considered a gem and a case study. And the performance of Lal in Chenkol, in a very complicated character, is arguably considered (by quite a few) as his greatest ever.
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sravishanker1401gmailcom
December 29, 2018
MANK : Great interpretation of two of the best films of my favourite actor in Malayalam – Mohan Lal. Way to go ! From that period I was more drawn to wards films such as His Highness Abdullah and Surya Gayathri. The scene where his hitherto rage kept bottled inside spills out is amazing.
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Naveen
December 31, 2018
Mank, thanks for this post.
Manichitrathazhu is one of my most favorite films across any wood/langauge/genre. the only other film i add to this is Sagara Sangaman.
Shoba really owned Manichitrathazhu. i dont fully understand Malayalam, but i liked the Palvattam Pookaalam song very much. does anyone have an English translation of this song anywhere? the Oru Murai vandhu paarayo is probably the best song that carried the burden of the entire film on itself. i can, again, only relate to the Sagara sangamam climax song.
not seen Devasuram closely, will do now.
i was not active on BR’s page for a long time due to network restrictions at work. glad to spot this as the very first one.
though not a fan of lal’s mass masala movies ( of the kanmadam, aaram thampooran types ), love watching his movies with shobana, oorvashi et al in simple real social characters that play in the malayalam channels
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MANK
January 1, 2019
Thanks everyone again.
Nithin, Mohanlal’s performance in chenkol was great , but the film was totally unnecessary. Kireedam had a great ending and they should have left it there
Ravi sir, Its very rare someone mentions sooryagayathri . btw his higness abdullah wasnt an award film, it was more of a mainstream masala film . It had great classical or semi classical songs. Mohanlal’s other productions like bharatham and kamaladalam are much more award style pictures, though they were still mainstream productions
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sravishanker1401gmailcom
January 1, 2019
MANK : “to(space)wards” Now I see what caused the confusion. 🙂
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MANK
January 7, 2019
I am surprised this post didn’t get more comments. since these movies are very popular, even among non malayali audience. There has always been a lot of interest about these films on this blog ,which was a major inspiration for me in writing this.Wonder whether a lot of readers missed it because of the timing or found it too long or whatever . i thought its one of my better pieces. Hmmm…….
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Rahini David
January 8, 2019
Well, New Year’s is when people have plenty of countdowns and want to relish a particular year. So I suppose the world is alive with Top10 countdowns and what not.
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vinjk
January 8, 2019
Personally, I’m bored of reading and listening to analysis about Manichithrathazhu and Devasuram. I have watched these films many times. Also I think MANK himself has written about them in comment sections and as articles many times. So I just skimped through the article.
Next time someone wants to write about these movies, clearly state why we should read this!
😀
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krishikari
January 8, 2019
@mank Timing yes. Im going to be in Kerala in a day or two, what should I not miss from the new films out? Reccomendations much appreciated for new Tamil also.
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Naveen
January 9, 2019
@vinjk, a thing of beauty is joy forever.
@Mank, there is a new interview of Fazil, I think in behindwoods. he talks about srinivasan, mohanla/mamootyl, lohithadas, fahadh/dulque/tovina and also about his processes. he does not talk about manichithratahzhu though. you would mostly like it.
@krishikari – Njan Prakashan and Ente Ummante Peru seem to be good ones that have come recently. Tamil, you better skip the recent ones, except Kanaa.
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brangan
January 9, 2019
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MANK
January 10, 2019
Also I think MANK himself has written about them in comment sections and as articles many times
HA HA… This one in all probability will be my last.( i hope 🙂 ) . i have written all my feelings even mutually conflicting ones 🙂
krishikari, what Naveen said and of course Petta . Guess Mikhael with Nivin is coming on 18th
Naveen, i couldn’t find it
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MANK
January 10, 2019
The sathyan Anthikkad interview was good. Interviewer asked all the right questions
ever since he started writing his own scripts his films have become boringly repetitive and bland. Sreenivasan at least manages some funny dialogues
The only thing that annoys me about this as well as with every other sathyan anthikkad or sreenivasan interview is a certain arrogance they have towards criticism. Granted that mathrubhumi has been bashing every Malayalam film , ever since the film industry boycotted them, but to say things like sreenivasan takes 15 days to find a line in a dialogue , so it should not be criticized is absurd.even if he took years to write a script , if the viewer does not like it, then he has the right to criticize it
Regarding the comparison between Fahad and Mohanlal, well Fahad, Nivin,Dulqar,Tovino and Prithvi, each actor can only nail a certain aspect of Mohanlal’s versatile acting oeuvre. Fahadh and Nivin are good at being the tragi comic middle class hero of sathyan and priyan films, they cannot pull off larger than life roles like rajavinte makan or devasuram. Tovino nails the intense romantic hero that Lal was in those Padmarajan movies like thoovanathumbikal .Prithvi nails the larger than life roles, but is too stiff for sathyan priyan kind of movies. Again a testament to what a great actor Mohanlal was in his prime, who could do sanmasaulavarkku samadhanam, thalavattom, rajavinte makan,Gandhinagar 2nd Street,Namukku Parkkan Munthirithoppukal all at the same time.
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Kid
January 10, 2019
MANK: I loved this piece (as I have loved each of your articles). I would suggest that you should keep writing these pieces not the least because very few seem to be interested in engaging sincerely with mainstream Indian films of the past. As for the number of comments/views this post has attracted, one must remember that whichever way we slice and dice these things, a lot of it just boils down to pure luck (just like it is sometimes very difficult to understand why a film became a hit).I will suggest not to bother too much about such stuff.
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MANK
January 10, 2019
Thanks Kid. Great to see you again after a long sabbatical. Hope you are doing fine.
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Rahul
January 10, 2019
MANK, what Kid said. I am also a big fan of your writings. Often I feel that I need to watch a movie once more before seriously engaging in what you wrote and that is why I do not comment. Please carry on writing. Also, one suggestion. You should look to harness your various comments into articles , because its hard to go back and read comments.
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MANK
January 11, 2019
. Thanks Rahul, Usually my comments are made in response to some other comment. So the context sometimes becomes important. Also one needs time and patience to shape the thoughts into a cohesive stand alone piece. Still I’ll try.
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