Papa, don’t preach?

Kappela (Chapel, Malayalam, 2020)
Written & Directed: Muhammad Musthafa

Another Malayalam movie that makes its viewers think.

https://www.rottentomatoes.com/m/kappela

Growing up, I often saw my mother hovering over my sisters. She would insist on having the final say on how they should dress, behave, and interact with others. My sisters believed that my mother was just a typical conservative mum, thinking her daughters were like beauty queens and that the world was an overly testosterone-charged place waiting to target them. Throughout their teenage years, they disliked my mother for that, but, being obedient girls, they simply complied and focused on their studies.

Later in life, they would tell me about the harassment they endured, as I had already left the house for further education. In hindsight, however, they thought she had to do what a mother must do to guide her children in the right direction. Perhaps they would not be so comfortably settled in life now if not for our mother's vigilance and, perhaps, paranoia. 

Again, when we, the children, became parents ourselves, we also had to balance giving freedom, being modern parents, and educating about predatory behaviours to our own. It became even more difficult with access to the outside world through social media and the spreading of anarchic values celebrated by the leftists as progressive. Whatever Eastern values were promoted are seen as outdated and discarded. 

People who have not been parents themselves might not understand the storyline. Scolding a young girl for sitting as a passenger on her male classmates' bicycle may seem old-fashioned, but her parent had his reasons. After hearing stories of children going astray, parents naturally become cautious. 

A misdialled call leads to romance between an older teenage girl who has failed her public school examinations and a random auto-rickshaw driver. The driver seems like a kind and well-meaning chap. After frequent exchanges of calls, the lovers decide to meet when her parents are away. 

At their rendezvous in another town, there is a frustrated and angry young graduate who is unable to find a job. This young man is seen as a violent individual who does not hesitate to fight for his cause. 

In the story's intriguing development, the audience is shown another side of the nice guy, who is not so nice after all, and the anti-hero is actually a saviour of the naive girl. The nice guy is a predator, and the angry man is a do-gooder. 

How many times have we witnessed these stories unfold repeatedly? The spring of youth, with its hormones impairing rational thought, may have lifelong consequences. Stalking is mistaken for care, and touching is seen as unrestrained passion and a way to express love. Sadly, only hindsight offers perfect clarity.

(P.S. Thanks, JM, for the recommendation.)

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Find love via stalking?

Annayum Rasoolum (Malayalam; 2013)

Story and Direction: Rajeev Ravi

https://madaboutmoviez.wordpress.com/2013/01/24/annayum-rasoolum-
movie-review-tender-love-story-ode-lovely-city/

This is one of those movies where stalking is portrayed as a legitimate way to try to win a girl's heart. The approach is to appear occasionally, put on a penitent expression, and hope that she will pity him and fall for him. The film also depicts a female character with no agency, swayed effortlessly like lallang in the wind, by her parents and the men in her life, without ever making a sound. This role suits Andrea Jeremiah perfectly as her debut in a Malayalam movie, portraying a naïve Catholic girl from a conservative family. 

The feminists among us would cringe that such a story is even allowed to be made, as it may steer society in that direction, since we, descendants of primates, follow the adage 'monkey see, monkey do'! Look around. People come in all forms, sizes, and ways of life. Increasingly, some among us believe that certain people should be just seen and not heard. They are also regressive in their thinking, claiming that all world problems are caused by women, the weaker sex and the ones who carry half the credibility of their male counterparts. Witnesses only carry half the weight. They are given second priority in the distribution of wealth and educational opportunities. And this trend is seen across societies. 

What fascinated me about this movie is the location. Shot in the remote and less developed areas of Kerala, in Kochi and Vichy, regions 'discovered' by the Portuguese in the late 15th century. These areas are also adjacent to the most familiar tourist spots, the backwaters of Kerala. The cinematography is simply stunning, and viewers would not mind the slow storytelling because of the visual gratification on offer. 

It is a story of love at first sight when Muslim taxi driver Rasool spots Anna, a saree shop assistant. She takes the ferry to work every day. Our hero believed the best way to win her over was to stalk her, to follow her to work. It worked. The problem mainly arose from Anna's family. They wanted Rasool to convert to Christianity, which Rasool refused. 

It swings like a yo-yo. Anna's family decide to marry her off to a random widower. In a scene almost reminiscent of the final scene from 'The Graduate', Rasool makes a dash to pull Anna away from a pre-wedding counselling course at a church. 

More trouble ensues, complicating matters further. As the ultimate solution for all life's crises, in the Indian movie style, there must be a death. 

Another crowd-pleaser in the film is the music. The songs resemble Sufi music with poetic lines about love, death, and divine forces, infused with Arabic words. It is refreshing to enjoy these Sufi melodies accompanied by electric guitars and drums.

 

The movie performed well at the box office and was nominated for many awards, winning a few on the technical side. 

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Psychological noir thriller!

Level Cross (Malayalam; 2024)
Director: Arfaz Ayub

https://www.imdb.com/title/tt27328373/

Thanks, SD, again, for the recommendation. 

This time around, it is a mind-bending psychological noir thriller quite atypical of what is often seen in most Indian movies. Minus the psychedelic multiple eye-catching costumes, ornaments and landscape, we land ourselves in a monochromatic desert-like location. It is set in a God-forsaken train crossing quite far from human civilisation. The gate at the crossing is manned by a single individual who stays in his quarters just by its side. There is no human contact for miles and miles away. His only conversation with the outside world is the phone call announcing the passing of the next train. Conversations on the telephone can only be made one way. The only excitement around there was the sound of the speeding train.

One day, he finds a pretty unconscious woman in the form of Amala Paul stranded near the crossing, apparently after falling off a moving train. So starts a human interaction for this gatekeeper in years. He carries the lady to his quarters. She comes around to narrate her sob story. She used to be a psychiatrist who fell in love with her patient. After marriage, she found him to be a cocaine-snorting abusive husband who had killed his first wife. According to her, she jumped off the train to escape her husband's tyranny.

The sympathetic guard promises to protect her. When a call announces the next train, the lady forbids him from asking someone to help her reach civilisation.

The lady then discovers, while cleaning the quarters, some newspaper clippings of a mass murderer and another railway ID card with the guard's name but a different face. The lady puts two and two together and concludes that the guard is the mass murderer and has assumed the name of the real guard that he must have killed. She suddenly starts seeing him from the angle that she could be his next victim.  

femme fatale in red hue?

The following day, as the lady sets off to fetch water from a distant well, the husband appears at the doorstep, inquiring about his missing wife. He provides a contradictory account of the earlier story. The wife is the one suffering from mental illness, exhibiting violent behaviour and battling drug addiction. He is simply taking her to another town for treatment. 

The guard tries to get rid of the husband but fails. The husband sees his wife's garment.

Next is a three-way showdown to determine who will come out on top. It was 'game theory' on full display. Who is telling the truth, and who are the mad killer(s)?

This tense, high-strung thriller is reminiscent of a western film where life is cheap, or a scene in 'The Deer Hunter’ where American prisoners are forced to play Russian roulette. A good film, sans masala, draws the audience to the edge of their seats.

P.S. The movie was shot in Tunisia, hence the desert-like background in the movie, not Rajasthan.

Best film quote:  "God doesn't care about us anymore!"

Yet we talk about the film!

Kasaba (Circle, കസബ, 2016, Malayalam)
Screenplay, Director: Nithin Renji Panicker

It was probably after the release of this movie that many ardent Malayalam viewers and actors started voicing their concerns about the presence of misogyny in Mollywood. Despite the loud opposition and charges filed against the moviemakers, with the Malayalam Movie Association getting involved, it broke the record for the most widely viewed Malayalam movie teaser. Talk about the Streisand effect!

The seed of dissatisfaction was sowed against the senior actor Mammotty by many actors, especially Parvathy Thiruvadu, who was cyberbullied by trolls and Mammotty fans. Police reports flew, but she stood her ground. She went on to be the voice against misogyny in the Kerala film industry. A collective known as Women in Cinema Collective came to the forefront, opposing misogynistic dialogues for the betterment of society. They questioned why a highly respected actor like Mammotty should be so low as to partake in movies that denigrate women and their presence in society. 

This is a masala movie, much like a spaghetti western, and does not need many grey cells to follow. Rajan Zachariah is a police officer handpicked by the IGP to investigate the death of an inspector, the IGP's son and his fiancée. Even though the deaths were reported as Maoist killings, the IGP suspects foul play. 

Rajan can be labelled as a rogue cop. He walks around with a chip on his shoulder and cares two hoots about following rules. He makes his own rules and thinks he is an honest cop because he brings in the bad guys. His flirting and sexist jokes are part of his remuneration for getting his job well done.

One scene of this nature sparked controversy. As Rajan is walking haughtily, puffing his cigarette without a care in the world across a non-smoking corridor, he is rebuked by a more senior female officer. Rajan is told off for not saluting her and for lighting up in a non-smoking area. What he did afterwards was utterly out of order! He apologised unconditionally for not saluting a higher officer, extinguished his cigarette, and placed the cigarette bud in her hand, asking her to dispose of it. She retaliated by uttering, "f@#k you!" to which Rajan lifted up by her belt at her hip, saying, "Sure, and you'll be running around me for a week!" (paraphrasing from subtitles).

Soon after that film, a case appeared of an actress sexually assaulted. The rebel yell reached a disturbing pitch that compelled the government the other day to set up the Hema Commission to look into this issue. After many delays, with Covid and other political pressures, its report is out, and it is pretty damning, at least to the doyens of the industry.

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The twists of life

Manorathangal (Minescapes, Malayalam; 2024)

An anthology based on stories by MT Vasudevan Nair

After the release of the Hema committee report, the murmur, which started in 2019, is heard once again. More new victims of the Malayalam film industry are voicing their bad experiences out in the open. The report results from the Government's investigations into the alleged rise of sexual misconduct, exploitation and #MeToo complaints against big players of Mollywood.

The report's contents paint badly for the safety and working environment for the fairer sex. The report paints a picture of Mollywood as run by a mafia of senior directors, producers, and male actors who call the shots and decide which actress gets chosen and who gets the boot. To make it to the cast, the new actresses would have to endure much humiliation, denigration, and assault. The report prompted many Malayalam Movie Association chief members to resign to clear their names.

On one hand, civil societies assert that India is still not a safe place for ladies to work. This becomes more relevant now after the gruesome rape and murder of the Calcutta on-call doctor. Others are quick to add all these are not specific to Kerala or India alone. Patriarchy and power play are spread worldwide. Sudden retaliation by the public is politically motivated, ignited by self-interested parties out to create mayhem in India. Now that Malayalam movies are becoming more popular than other regional productions, people are bound to be jealous.

This collection of stories was written by Kerala's most influential storyteller, MT Vasudevan Nair. Most of the narration talks about nostalgia and how the test of time changes one's perception of reality. The picture of truth fed to us as children is a smokescreen. Time and tide change everything; hence, it is no use being haughty about what we have or being frustrated with things we do not.

The nine snippets in this collection are acted by many brilliant who's who in Malayalam cinema—Mohanlal, Mammooty, Siddique, Fahad Fazil, and more. This offering also sees the return of two famous actresses, Madhu and Nadia, after a hiatus. It talks about loneliness in a foreign country, loneliness in marriage, secret lives that adults have, love in the countryside, the hassle of having a family heirloom and how the family members vulture over it, how our values change with time and education and many more.  

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I need informed consent!

Golam (Sphere, Malayalam, 2024)

Director: Shamjad.

This is an exciting whodunnit that fans of Agatha Christie would love. The only thing is that the story is not told in an investigative manner. True, it starts off as a perplexing case where a high-flying entrepreneur is found dead in the office washroom. When the inspector tries to write it up as an unfortunate accidental death, the young investigating just-out police-college ASP, Sandeep Krishna, is cocksure that he smells homicide.  

The ASP finds it difficult to understand how the victim could slip and fall to get a fatal head injury on a dry floor. Forensics do not discover any toxins or foul play. 

The initial interview with the office staff, CCTV, and good old police work failed to go anywhere. The only thing unusual is a box of tranquilisers in one of the staff's handbags. She claims she has insomnia.

An interview with the doctor who prescribed the tranquillisers shows that all the workers in the office suffer from some kind of ailment one way or another - miscarriage, alopecia, deteriorating eyesight, memory loss and others. After looking at their cases, the doctor proposed they could be guinea pigs for the Pharma company they work for. In collaboration with their US partner, the Pharma company developed a virus. At the same time, they were creating an antidote. The good doctor suspects that the workers were fed with vaccine-laced drinks. Skin sampling is done to gauge their response to the vaccine when they fingerprint themselves and report to work. The fingerprint has an adequate DNA sample for the scientists to analyse their response to teh virus, codenamed Red Virus.

The ASP came up with a complicated plan how all the ~14 workers could have devised a devious plan to kill off their boss for vengeance, dodging the CCTV camera, locking the boss in the washroom, fuming the washroom with CO₂ gas, drowning his COPD-diseased lung, falling and succumbing to hypoxia. A clever plot! 

What happens next is the clincher. The protractor is apprehended, but instead, the ASP goes on a witch hunt against the Pharmaceutical company. He goes solo, in commando gear, to infiltrate their high-security plant in the interior to expose the company's shenanigans. The filmmakers decide to end the movie, paving the way for a sequel.

The building where yellow fever experiments were

conducted to prove that it is not transmitted using 

infected clothing (fomites). Camp Lazear.

The story of avoiding infections is the story of mankind. As in HG Wells 'The War of the Worlds', the only thing that protects the human species from total annihilation is their protection against common pathogens, not modern weapons. In the process of developing this immunity, many have to sacrifice. The story of Yellow Fever in the 1900s comes to mind.

Yellow Fever was a pressing problem in southern tropical areas of the USA. Although it was common in Cuba, periodically, epidemics broke out in the US. It was thought it was brought by bad air, poor sanitation or infected bodily fluids. It is said that a Confederate Officer tried to assassinate Lincoln by sending him old, dirty garments of patients who died of Yellow Fever, hoping that he would die of Yellow Fever. He obviously did not.

Dr Carlos Finlay of Cuba toyed with the idea that Yellow Fever was spread by mosquitoes, but he was laughed at. In 1900, Dr Walter Reed of the US Army introduced the idea of controlled studies. By using human volunteers who were willing to endure being bitten by mosquitoes for science, he proved that Yellow Fever was transmitted by certain mosquitoes. An army personnel, Jesse Lazear, died from Yellow Fever after contracting the hemorrhagic form of the disease. 

Now, would anybody make such a sacrifice in this age and time? Is it even legal? The Pharma is more than willing to conduct these experiments for us, all in the name of saving mankind. The reason, however, which is not even printed in the fine print, is that of monetary gains. Sure, they would pay off their guinea pigs handsomely. This is, however, just a drop in the ocean for these conglomerates. It would hardly jolt them.

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The undercurrents beneath the surface

Ullozhuku (Undercurrent, Malayalam; 2024)
Director: Christo Tomy

An old Tamil proverb goes, ‘Tell a thousand lies to make one marriage happen.’ In Indian society and most Eastern cultures, a person is highly encouraged to get married once he or she is of marriageable age. 

Before Bharat Matrimony and Shaadi.com came into the picture, the services of marriage brokers were often summoned. Like St Jude Thaddeus, the patron of the impossible and lost causes, the broker, armed with various biodata including age, educational status, skin fairness chart, horoscope, Varna, and juicy family scandals that needed to be suppressed, would come the most appropriate match. 

Like in game theory, both sides may have their bag of worms but would find it appropriate to keep them buried. After all, they would see the bigger picture. A married person reaches a certain elevated status in society. Even funeral rituals are slightly different for the unmarried.

With time, all these societal norms have changed. In matters of the heart, with urbanisation and girls coming out of their homes for jobs and education, romance took the wedding brokers out of a job. 

Coming from a Catholic family, the family flipped when they discovered their beloved daughter, Anju, was in love with Rajeev, a Hindu boy. They quickly get her married to Leelamma’s son, Thomaskutty. Soon after the marriage, Thomas becomes chronically ill with a brain condition. 

Frustrated living in a loveless marriage caring for her bedridden husband, she rekindles her liaison with her former lover. Under the guise of collecting her husband’s medicine from the hospital, she spends quality tryst-filled times with Rajeev. 

Thomas soon dies, but Anju discovers that she is pregnant. Leelamma finds out that she is involved in an affair. 

The crux of the rest of the story is how Anju tries to leave her mother-in-law to be with Rajeev. Contrary to what Anju had been made to understand, Thomas had been known to be sick even before the wedding, but Anju’s mother concealed this from her. 

A poignant drama depicting the relationship of a mother-in-law with her daughter-in-law. As a lady, Leelalamma feels that she has had a raw deal from God despite doing her part of her bargain to God. She thinks that God is jealous of her being happy. All her moments are short-lived. How she had to cut short her big dreams at 19 when she was drawn into matrimony. Then, she lost her husband and her sick adult son with an intractable disease. 

Against the wet background of a flood-ravaged village in Kuttanad, Kerala, amidst the rising and ebbing of floodwaters and pouring rain, the story tells the tale of undercurrents that the ladies had to endure to conform to society and fulfil their duties as daughters, wives, mothers, and God-fearing people. 

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A rescue mission that almost never happened!

Manjummel Boys (Malayalam/ Tamil; 2024)

Director: Chidambaram

I was intrigued by this movie after reading two articles. The first detailed a legal dispute between Ilaiyaraaja's side and the producer. The dispute arose when the producer used Ilaiyaraaja's song composition as a background without obtaining permission. This incident added an exciting layer to the movie's production. The second article discussed the Tamil Nadu Home Secretary's directive to the Kodaikanal Police to investigate police brutality against complainants, which also played a role in the movie's plot.

This is a gripping tale of a rescue mission that took place in 2006. A group of young men from Majummel, Kochi, embarked on a trip to Kodaikanal in Tamil Nadu, a popular tourist destination. While exploring, the men made a fateful decision to venture into a restricted area. Tragically, one of them fell into a seemingly bottomless pit. The story unfolds as the remaining men, faced with a group of apathetic officials who had essentially given up on their friend, embark on a daring mission to rescue him. 

This survival thriller is based on actual events. The cave the young men entered has a long and checked history. It was first described in 1821 by a British officer who christened it 'Devil Kitchen'. It caught people's attention when it was featured in 1991 Kamalhaasan's hit movie, 'Guna'. Since Guna, a mental patient in the film, used this cave as his hideout, it came to be referred to as 'Guna's Cave'. A catchy song from the movie, 'Kanmani Anbodan,' is used liberally in this movie and has become a bone of contention with Illayaraaja's camp.

As many as 16 victims have plunged into the pit in Guna's Cave, but none have been rescued. Even a Central Minister's relative had fallen into this hole. All the available resources could not rescue or not so much excavate his remains.

Roots of Guna Caves ©Shutterstock 

So, when the Majummel Boys ran to the Kodaikanal Police for help, the police were not too enthusiastic in carrying out rescue missions, looking at the cave's track record. In fact, they were beaten up, accusing them of trying to cover up a murder. The fire and forest departments were not helpful either. No officials dared to go in hoisted on ropes with so many urban legends floating around. Long story short, the boys and the local people hawked on the police and rescue teams. One of the Manjummel Boys, Kuttan (Suji David), volunteered to go in. After many tense moments, the victim (Subhash) was found alive and rescued. Kuttan went on to receive a State award for bravery. Subhash remains the only person rescued after plunging into the hole in Guna Caves.

This movie is a visual treat, with stunning cinematography that captures the beauty and danger of the cave. The camera work effectively conveys the tension and fear experienced by the characters, adding to the overall suspense of the film.

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