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Vishnu-The_Film_Alchemist
Filmophile from the Land of Spices
Hailing from the vibrant shores of Kerala, India, I'm a film enthusiast with a passion for stories that transcend borders and languages. I believe that movie-going isn't just about passive consumption; it's an immersive experience that shapes us on a deeper level.
Sure, masterful direction, captivating scripts, and stellar performances are the cornerstones of a great film, but for me, the true magic lies in the personal alchemy that happens between the screen and the viewer. Our life experiences, cultural tapestry, and current frame of mind all play a role in how we interpret the narratives unfolding before us.
That's why some movies resonate deeply, while others leave us cold. It's not about right or wrong, it's about the unique tapestry each viewer weaves with the threads of the film. And that's what excites me most – the power of cinema to spark conversations, challenge perspectives, and even nudge us towards personal growth.
I believe that sharing our cinematic journeys is a powerful tool. By exchanging insights and interpretations, we can help each other see films in new light, appreciate nuances we might have missed, and even broaden our own understanding of the world.
So, join me on this cinematic adventure! Let's delve into the depths of diverse narratives, celebrate the magic of storytelling, and discover the profound impact movies have on our lives. Remember, the experience is yours to own, and the only rule is to keep an open mind and a curious heart.
Beyond the silver screen, I'm a firm believer in the transformative power of cinema. Movies can inspire empathy, challenge biases, and open doors to new cultures and perspectives. By understanding films in a positive light, we can cultivate a more compassionate and enriching worldview, one frame at a time.
So, grab your popcorn, settle in, and let's experience the magic together!
Reviews
Pavi Caretaker (2024)
A Lonely Person's Story, An Old-School Story, Still a Feel-Good Story! 😊
"Pavi Caretaker" is the story of Pavi, a middle-aged caretaker in a flat in Ernakulam. This movie illustrates what loneliness can do to a person. I liked this film a lot because I have encountered lonely individuals in life, and I observed many of their behaviors reflected in this character. The storyline is simple, and it is well-written with beautiful moments. However, there are also some not-so-good moments too. The movie is quite predictable at various points, but occasionally,it defies expectations and successfully confuses the audience. In this social media era, the filmmakers crafted an old-school love story using letters,which was a well-placed choice. The director did an excellent job,keeping the audience engaged until the end of the movie. Perhaps my interactions with lonely people influenced my affection for this film. In summary,it was a good cinematic experience for me.
Writing and Direction- Vineeth Kumar, the director,executed his role exceptionally well. After a long hiatus,he skillfully utilized actor Dileep in this film. The movie features several slapstick comedies reminiscent of old Dileep movies,most of which resonated with me. The strategically placed symbolic shots added a perfect touch. Nearing the climax, the sequence featuring the dog chasing Dileep's vehicle was well-shot. At that moment, I felt the tension. Similarly, during the wedding hall sequence,we also experience that tension and confusion-another well-crafted moment. Additionally, the visually impressive VFX shots showcased the director's vision. Overall, he successfully translated the well-written screenplay onto the screen without compromising its quality.
However, I did find some negative aspects in the film's direction. The opening shot and subsequent scenes lacked interest, almost dragging me into the film forcefully rather than smoothly. The initial setting felt somewhat artificial. While the slapstick comedies generally worked, some of them disrupted the film's flow. The kitchen scene was overly lengthy, with repetitive situations, and the sequence didn't work for me. When we look into the only fight scene from the movie,even though they shot the fight sequence well,it destroyed the character's arc. The common man turned into an action hero during that sequence unwantedly. This could have been avoided. Furthermore, the Onam song felt disjointed, with scattered elements in the frames and incorrect lip sync. It remains unclear whether this issue lies with the choreographers or the director. Despite these flaws, the director's overall performance was commendable.
Rajesh Raghavan's Writing -In the modern social media era, we are treated to yet another beautiful love story through letters-a delightful experience. The story itself is captivating, with Pavi as a central, well-crafted character. The writer deserves credit for the intricate details woven into Pavi's persona. Initially, I perceived the character as somewhat exaggerated, but upon reflection, I realized that his loneliness shaped his behavior. His loud demeanor, judgmental mindset, and tendency to magnify small problems all contribute to his complexity. Notably,he adapts his dialect to match whomever he converses with-an astute detail. While the dialogues were generally good, a few double entendres stood out. Pavi's struggle with friendships between men and women adds depth to the narrative, leading to pivotal moments in the movie. The emotional, dramatic, and comedic elements all resonated with me.
However, there was one glaring flaw in the writing-the unnecessary fight scene. This moment disrupted the character's natural flow. Pavi, a relatable and simple man, suddenly transformed into an action hero by taking on the drug mafia. This decision raises questions about the consequences awaiting him. Additionally, the postwoman character felt out of place, deviating from the storyline. Lastly, some double-meaning jokes could have been avoided.
Songs and BGM
Midhun Mukundan did a wonderful job as the music director. Lyricists Shibu Chakravarthy and Vinayak Sasikumar also played their part well. The songs were beautiful. While reusing songs in movies has become a new cliché, here the use of the song felt perfect, and I loved it very much. As a fan of the song "Moham Kondu Njan," I thoroughly enjoyed the placement and usage of this new version in the theater. "Pirakil Aaro" is now on my favorite list,and I've been playing it on repeat for a few days.
The background music was good, though not great. Initially,I felt there was a lack of BGM for a few scenes. However, as we reached the interval, it improved. Nevertheless, the repeated use of the same music could have been avoided. In some areas, there was a very old-fashioned BGM, which felt a bit off.
Editing, VFX, Cinematography, and Color Grading
Deepu Joseph's editing was overall good, but the Onam song was a bit messed up. It's not solely his fault;it's the result of mistakes from various departments.
Sanu Thahir handled the cinematography, and he did a wonderful job. The frames were awesome. However,the Onam song remained problematic in this aspect as well.
The VFX, particularly the creature animation by EggWhite VFX, was impressive. They truly work magic in the industry. The "Marapatti" scene, in particular, stood out,and their work was the highlight of that portion of the film.
Regarding color grading, the colors felt a bit excessive, but somehow, they suited the film.
Production Design, Costumes, and Makeup
-Production designer Nimesh Thanur did an excellent job. Everything felt real, clean, and perfect.
-Costumes designed by Sameera Saneesh were good, and the security uniform for Dileep suited him well. However, I'd like to offer a small suggestion to all costume designers in the industry:Not everyone wears perfectly ironed clothes all the time. Sometimes,showing a few wrinkles can add authenticity, especially for casual scenes at home.
-Makeup by Ronex was good, although some characters seemed to have too much makeup.
Cast and Performances
-Dileep: After a long time, I witnessed a strong performance from Dileep. Initially, he seemed a bit over-the-top, but I later realized that the character demanded that level of intensity. The emotional portions worked very well for me. His body language and modulation in dialogues were commendable. While many of his slapstick comedies landed successfully, I couldn't help but miss the ease he once had. If he could recapture that, it would take his performance to the next level.
-Radhika Sarathkumar: She did well, but something was lacking-perhaps due to the language barrier. Also, she still looks younger than the character she portrayed, which might not have been the best fit.
-Swathi Konde and Shreya Rukmini: Both delivered notable performances. Swathi's character,in particular,stood out from the beginning. The person who dubbed for her also deserves appreciation for doing a wonderful job.
Pavi -The Character
A lot has been said about Pavi's character, and I found it to be beautifully written. Within a short span of time, the film effectively presents various aspects of Pavi's personality, condition, and lifestyle.
Pavi is a talkative individual who often finds himself in trouble due to his excessive chatter. However, he also possesses the ability to talk his way out of problems. He tends to judge others and interfere in their lives. His mindset doesn't align with the current generation, and he stubbornly refuses to change. The film subtly reveals that his loneliness drives these behaviors; lacking emotional connections, he compensates by being overly expressive. At work, Pavi is strict and outspoken. He rarely considers the consequences before acting. The movie portrays him as someone who lives a solitary existence. Interestingly, the film opens with a glimpse of his relationship with his pet dog. Pavi affectionately calls the dog "Bro," suggesting a deep bond akin to brotherhood. Despite workplace restrictions, he rents a house far from his job just to accommodate his beloved canine companion. He lived for his family once; he worked in a foreign country for their sake. However, now his sister only calls him when they need something, and they never inquire about his well-being. Despite this, we can observe that he still cares for his sister's family when they require assistance. His new female friend changes him a lot. He starts to think that he is not alone. As a result of that, we see in the movie that the person becomes a little softer. But when the person who has changed his solitude suddenly moves away from him, we will see his character slip into a different state. A person who lived alone until then,but after receiving care and love from someone else, when he suddenly loses it, he doesn't know what to do. He loses concentration in his work and wants an escape in life. Due to this situation,he reluctantly gives away his beloved pet dog to a child who adores the dog. One who lives with the conviction that he has no one to care for him and that no one is there to care for him can lead a life without being burdened by anything. However, for the same person, when someone comes with the hope of being by their side,they begin to worry about the things around them. Later, if the person who cared for them departs, the ensuing loneliness becomes incredibly difficult to bear. We witness this in the final parts of the movie through Pavi. Pavi emerges as a beautiful character who reveals multiple layers of a lonely individual before us.
As for my personal experience with the movie,I found it enjoyable during my theater visit. Although the movie has many flaws,I still liked it and am satisfied. This review is based on my initial viewing, and it's possible that my opinion may evolve after subsequent watches or over time due to changes in life and perspectives. To any crew members reading this, I ask for forgiveness if my perspective contains any inaccuracies. ✨😊
The Goat Life (2024)
It's "Aadujeevitham" Without 'Aadujeevitham..!'
Aadujeevitham is one of the most anticipated films in the Malayalam film industry since the day it was announced. The movie is based on a novel of the same name written by Benyamin. The novel draws from true incidents that happened to Mr. Najeeb, a Keralite who became a slave at a goat farm in the Saudi Arabian desert. It portrays his struggle for survival in the harsh desert environment alongside the goats and his eventual escape. The novel achieved bestseller status in Malayalam literature, which raised expectations for the film.
It's important to note that while the novel was inspired by real events, it also weaves in fictional moments and incidents from the writer's imagination. The film, under Blessy's direction, creates another fictional world around Najeeb, offering a unique vision and interpretation. Consequently, both the novel and the movie diverge from real-life events at various points.
Having read the book six years ago, I recall only a few moments that deeply resonated with me. This allowed me to approach the movie with an open mind, without expecting a faithful adaptation of every detail from the novel.
Review:
When it comes to the movie experience, I felt it was like "Aadujeevitham" without actually being "Aadujeevitham" (a goat life without truly experiencing goat life). The film focused more on the survival journey through the desert than on the protagonist's life situations with the goats. The goats were the reason for the novel's name, "The Goat Life," but the movie didn't fully explore that aspect. When Najeeb talks to Hakim after many years, a goat-like sound comes from him, which is the only thing that makes "The Goat Life" somewhat goat-like.
The movie begins by showing a sandstorm, welcoming us into the harsh desert life. The movie kept me engaged throughout, but it didn't connect with me emotionally. The emotions worked differently. I felt sad about the protagonist's situation because I thought it had actually happened to someone in real life, not due to the writing. I appreciate Blessy's and Prithviraj's dedication, but I must share my genuine opinion.
Screenplay, Dialogues, and Direction:
The movie followed a nonlinear storytelling approach, which I believe was the best way to tell this story. The dialogues were good, although some felt a bit artificial. Blessy's direction was commendable-the shot selections and symbolic shots were well-executed. The mirage scene was a memorable experience, and the transitions were thoughtfully crafted. The decision to avoid subtitles during the interaction between Najeeb and his Arab owner is truly amazing. Since Najeeb doesn't know Arabic, his confusion while hearing the language also resonates with the audience members who don't understand Arabic. This creative choice worked very well.
Compared to Blessy's previous works (with Kalimannu as an exception), the writing in "Aadujeevitham" fell short. Blessy excels at writing romantic scenes between spouses (as seen in "Thanmathra"). However, in this movie, the flashback romance felt artificial. Watching the scenes between Amala Paul and Prithviraj, which was shot six years ago in 2018, left me feeling awkward. Perhaps the changing cinematic sensibilities post-COVID affected the impact of those romantic moments.
Blessy's strength lies in portraying human emotions. His earlier works like "Kazhcha," "Bhramaram," "Palunku," and "Pranayam" deeply connect with viewers, evoking tears each time. Yet, in "Aadujeevitham," I struggled to emotionally connect with Najeeb. The film lacked moments that would make us truly feel for his character. If the movie had depicted Najeeb's struggles for food, water, and the loneliness he experienced in the desert, it could have built more sympathy.
The similar goat-like sound from Najeeb and the farewell to the goats scenes were some of the well-written portions.
Casting and Performances:
Prithviraj: He gave his best performance for the character. His outstanding body transformation and acting skills impressed me. Initially, it took me a little time to accept Prithviraj as Najeeb, especially after watching many interviews with the real Najeeb. However, as the movie progressed to different stages of Najeeb's life, I truly appreciated Prithvi's performance and his voice modulation. When he speaks, a goat-like sound emerges, which adds authenticity. Even in the climax, Prithviraj's voice moved me to tears at certain points.
Amala Pau as Sainul: Unfortunately, I felt that Amala Paul was miscast and not well-suited for her character.
Gokul as Hakeem: Despite some artificial dialogues, Gokul's performance was outstanding.
Jimmy Jean-Louis as Ibrahim Khadiri: His wonderful performance will always be remembered.
Music and Sounds: A. R. Rahman created a wonderful album for this movie. The songs are pleasant to hear and suitable for the situations. Each song is placed perfectly within the film. However, the visualization of the song 'Omane' didn't work well for me; it disrupted the flow of the movie.
Background Score: While it effectively enhanced certain sequences, there were still a few moments when the background music was not suitable for the situations.
Sound Design: Resul Pookutty
The sound design was flawless. It truly immersed me in the movie-I could feel the wind inside the theater.
Cinematography and Editing:
The cinematography was excellent, with numerous wonderful frames throughout the movie. Some shots were executed brilliantly, especially during transitions between scenes. Cinematographer Sunil KS deserves immense respect.
Sreekar Prasad's editing was good, and the transitions between some scenes were wonderfully blended. If the transitions during flashbacks were achieved while editing, then that was wonderful. However, at the end of a few scenes, we can feel the cuts; the visibility of these cuts disrupts the flow.
Visual Effects and Art:
The visual effects felt average. If there are elements that we can't identify as VFX, then the VFX work was wonderful. Specifically, if the transitions during flashbacks were done with VFX, that was commendable.
The artwork was outstanding. The team had already revealed that they created a camel and parts of the oasis for the movie. The details, such as the words Najeeb had written on the rusted vehicle, were well-executed. These details effectively conveyed how much he missed his wife Sainu during his struggling days. Nothing appeared artificial, so I believe the department did their job well.
Costumes and Makeup:
Costumes by Stephy Zaviour were good. From her interviews, we can understand that she worked hard and conducted extensive research for the costumes. However, I did notice a minor issue: while running through the desert, in one shot, Prithviraj's pants looked freshly ironed. It's a small detail, but worth mentioning.
Makeup by Ranjith Ambady was excellent. He transformed Prithviraj into someone else, creating a resemblance between Real Najeeb and Prithivi in some shots.
While concluding the review, I would like to highlight a few points. The Malayalam film industry initially adapted many novels and short stories into movies during its beginning stage. This practice served as the basic pillar of the industry. Several of these adaptations were well-received by both critics and audiences. However, there was a period when we shifted away from making films based on literature. In recent years, we have witnessed a resurgence of movies adapted from books. Unfortunately, not all of these adaptations have been successful with both audiences and critics. However, 'Aadujeevitham' has managed to gain acceptance from both groups. I believe its success will pave the way for more film adaptations of novels, and I am hopeful for well-written movies based on literary works.
As for my personal experience with the movie, I found it to be enjoyable during my theater visit. While I am not entirely satisfied, I did like it. This review is based on my initial viewing, and it's possible that my opinion may evolve after subsequent watches or over time due to changes in life and perspectives.
What I learned from this movie is that when we watch a film adaptation of a book, we should not expect every detail from the novel to be replicated on screen. Movies are a distinct art form with limitations in visualizing everything from a book. Not every beautiful phrase written by an author can be effectively translated into a visual medium. Interestingly, many of our favorite movies or successful films were not preceded by reading their stories. Perhaps if we had read those stories beforehand, we might have noticed moments that were missed in the visual adaptation. The key for filmmakers working on adaptations is to maintain the essence of the novel while selecting moments that resonate well with the audience. If a movie is adapted from a novel and can satisfy a person who has never read the book, then that movie is "successful as a movie." Readers expect the story on screen to match their imagination. If their favorite moments are missed in the movie or if the scenes don't align with their mental images, the chances of dissatisfaction increase. Non-reading cinema audiences, however, simply expect a satisfying movie without concern for the novel. If the movie can satisfy them, it will be "a success as a movie". If it also satisfies the readers, then it becomes "a successful adapted movie."
To any crew members reading this review, I ask for forgiveness if my perspective contains any inaccuracies. If any of the criticisms are valid, I encourage you to avoid similar mistakes in the future. Constructive criticism is essential for continually improving our films.
(Opinions are strictly personal. Thank you.😊)
Abraham Ozler (2024)
An average thriller with some unique elements that make it worth watching.
Title: Abraham Ozler
Director: Midhun Manuel Thomas
Main Actors: Jayaram, Mammootty (extended cameo), Anaswara Rajan, Jagadish, Dileesh Pothan, etc.
Genre: Medical Thriller
Plot
The movie revolves around a traumatized police officer who is dealing with personal family issues. When the city becomes the target of serial killings, he begins his investigation.
Review :
"Abraham Ozler", despite being a cliché thriller, attempts to bring something new to the table. The first half is engaging, while the second half slows down, filled with an average flashback.
Performances: Jayaram and Mammootty deliver wonderful performances, though some actors come off as artificial.
Story: The narrative follows the format of typical Malayalam thrillers, with the officer's trauma adding a unique twist. However, the pacing is inconsistent, with some scenes rushing when they should be slow, making it hard to follow.
Cameo: Mammootty's character is introduced perfectly in the second half, providing a commercial movie moment for the audience to celebrate. The use of cameos to attract audiences to theatres has become a common trend, and the director leverages Mammootty's star power to experiment with the thriller genre.
Ending: The movie concludes with a wonderful twist, making it worth watching. It also leaves room for a sequel with an open ending.
Overall Experience: The movie provides an average experience. The direction and script are average, but the background score serves as a major backbone. The reuse of the old song "Poo Maaname" didn't worked well for me. The "Mega Cameo" and the climax twist make it a watchable film.
In conclusion, "Abraham Ozler" is an average thriller with some unique elements that make it worth watching.
(Strictly personal opinion)