KASET BF

Arjunan Sakshi Review|

'Arjunan Sakshi' serves as a timely indictment of an entire social structure and stems from the innate fissures that exist deep within it. It is a multi-pointed critique that brings everyone around - the administration, the police force, the state, the media and the general public - under the scanner and unveils a startling story of victims and perpetrators.

'Arjunan Sakshi' starts off with a letter to the editor of the Mathrubhumi daily from a man named Arjunan, who claims that he is witness to the murder of Feroz Mooppan (Mukesh), the former Cochin Collector. Anjali Menon (Ann Augustine), the journalist who publishes the letter lands in big trouble, with the murderers hot on her heels threatening her to reveal Arjunan's identity. Meanwhile Roy Mathew (Prithvi), a young architect who has arrived in the city to take up his new job, gets mistaken for Arjunan and finds his life in jeopardy.

The Metro Rail issue that forms the crux of the film is just an iconic representation of the several government projects that have been launched amidst much fanfare and that ultimately never saw the light of the day. These issues unfortunately are never usually tackled on a personal level as the common man remains busy with immediate everyday concerns, and makes do with whatever little he has (or has not) at his disposal.

What makes 'Arjunan Sakshi' different from the usual potboilers that take on the bureaucracy is that it prompts you to think, and probably even take a definite stand for once. The dreadful traffic menace that has been getting worse with each passing year and which we have learned to live with over the years has been brought up for deliberation on two occasions. Roy and Anjali get stuck in the midst of a jam and the stifled camera decides to get some fresh air by drawing up and away from them revealing a hefty column of vehicles that have come to a standstill. Later, during an emergency, the tra(gedy)ffic strikes again, and having emerged out of it unscathed, Roy frustratedly exclaims that there should be hundreds of people out there who go through this misery every day and yet, 'Nobody even cares'!

Roy's indignation finds an expression before the Police Commissioner as well, and he voices the sentiments of thousands of people when he asks what the purpose of a law enforcement system is, if it doesn't even guarantee the safety of an ordinary man walking through the streets. This is the voice of an oppressed man like you and me struggling to stay alive in a scary scenario where insecurity and sheer dread of power reign supreme.

Ranjith doesn't let Roy gain super human proportions and has his protagonist retain a very human air around him. You even see him go through those odd moments when he is real scared, confused and indecisive. At times he makes the wrong choices and bumps into dead ends. It's only when he shakes a leg at a party or gets to slam his fists in an action sequence towards the climax - two sequences that simply do not deserve to be there in this film - that you see him flashing those heroic traits, albeit for a very brief while.

Despite all this, if you walk out of the theater with a feeling in your mind that probably you had expected something more from this film, its because the thriller ride that 'Passenger' was, is still fresh in your minds. Also, 'Arjunan Sakshi' moves ahead at an unhurried pace, and though it has a running time of about two hours appears much longer than that with the leisure taking its toll on the viewer.

Prithvi could be proud of 'Arjunan Sakshi' less because of the prospects that it offers him to explore his potentials as an actor, and more because he is part of an extremely relevant film that has its feet firmly planted on ground. It has to be said that he's perfectly cast as well, and as the youthful engineer on the path of self-discovery delivers a dynamic performance that is absolutely admirable. Ann looks delightfully charming as the energetic journo and comes up with a creditable performance.

Never in a film before, has probably the urban landscape of Cochin looked as appealing as in 'Arjunan Sakshi'. The towering new structures that make up the suburbs, the suave coffee shops and the KFCs all form a part of this pretty picture of a booming port city that is all set to turn metropolitan very soon. Ajayan Vincent is the cinematographer in action here, and he draws the contours of the city in daylight and darkness with an equally remarkable panache. A car chase sequence that has been shot amazingly well deserves a special mention.

'Arjunan Sakshi' proves beyond doubt that Ranjith Sankar's 'Passenger' was no mere flash in the pan. I wonder if it's a crowd pleaser like his former film, but it's the kind of film that needs to be made, and above everything else, needs to be seen

Ithu Nammude Katha Review|

The tender line that one draws between inspiration and duplication can be a tricky one. Whether the former turns into the latter would depend on how the inspired has been able to infuse their creativity into the source of inspiration. And in some unfortunate cases, this doesn't happen and the result is a blatant copy.

'Ithu Nammude Katha' is a literal adaptation of the Tamil film 'Nadodigal' that had found a sizeable audience in Kerala as well. It's a big question as to why the makers of 'Ithu Nammude Katha' decided to adapt the Tamil runaway hit to the Malayalam screen, since quite a large faction of the viewers must already have seen it either in the theaters or on DVD.

The story that has been attributed to Samudrakkani in all fairness remains absolutely the same. Vinod (Asif Ali), Santosh (Nishaan) and Kochumon (Abhishek) play the characters essayed by Sasikumar, Vijay and Bharani in the original film, and the trio in their earnest attempts to get their friend Mahesh (Vineeth Kumar) married to Aiswarya (Amala Paul) against their families' wishes, find their lives destroyed. Vinod loses his grandmother, Santhosh a leg and Kochumon his hearing.

Ananya who played Sasikumar's love interest in the original film, is there as Kalayani in 'Ithu Nammude Katha', doing the same role. 'Nadodigal' was the film that brought Ananya to the forefront, and there is a by-now-famous breakdown scene in it that had film lovers asking for more. She is quite obviously on comfortable ground here in 'Ithu Nammude Katha' and does the afore mentioned scene with remarkable ease, though her on-screen chemistry with Asif Ali looks half as convincing as the rapport that she shared with Sasikumar.

There are few occasions when the screenplay moves away from 'Nadodigal'. Of course, the shift to Kuttanad from a remote village in Tamil Nadu might seem odd, but the script conveniently makes way for such small accommodations. If the three friends in 'Nadodigal' used to have a peaceful nap on the hot terrace, here they snuggle together on the deck of a small boat. The grandmother in 'Nadodigal' who had a place for herself on the verandah has shifted over to a comfortable space beneath the banyan tree in 'Ithu Nammude Katha'. The premise has gone for a sea change; the story and itThe tender line that one draws between inspiration and duplication can be a tricky one. Whether the former turns into the latter would depend on how the inspired has been able to infuse their creativity into the source of inspiration. And in some unfortunate cases, this doesn't happen and the result is a blatant copy.

'Ithu Nammude Katha' is a literal adaptation of the Tamil film 'Nadodigal' that had found a sizeable audience in Kerala as well. It's a big question as to why the makers of 'Ithu Nammude Katha' decided to adapt the Tamil runaway hit to the Malayalam screen, since quite a large faction of the viewers must already have seen it either in the theaters or on DVD.

The story that has been attributed to Samudrakkani in all fairness remains absolutely the same. Vinod (Asif Ali), Santosh (Nishaan) and Kochumon (Abhishek) play the characters essayed by Sasikumar, Vijay and Bharani in the original film, and the trio in their earnest attempts to get their friend Mahesh (Vineeth Kumar) married to Aiswarya (Amala Paul) against their families' wishes, find their lives destroyed. Vinod loses his grandmother, Santhosh a leg and Kochumon his hearing.

Ananya who played Sasikumar's love interest in the original film, is there as Kalayani in 'Ithu Nammude Katha', doing the same role. 'Nadodigal' was the film that brought Ananya to the forefront, and there is a by-now-famous breakdown scene in it that had film lovers asking for more. She is quite obviously on comfortable ground here in 'Ithu Nammude Katha' and does the afore mentioned scene with remarkable ease, though her on-screen chemistry with Asif Ali looks half as convincing as the rapport that she shared with Sasikumar.

There are few occasions when the screenplay moves away from 'Nadodigal'. Of course, the shift to Kuttanad from a remote village in Tamil Nadu might seem odd, but the script conveniently makes way for such small accommodations. If the three friends in 'Nadodigal' used to have a peaceful nap on the hot terrace, here they snuggle together on the deck of a small boat. The grandmother in 'Nadodigal' who had a place for herself on the verandah has shifted over to a comfortable space beneath the banyan tree in 'Ithu Nammude Katha'. The premise has gone for a sea change; the story and its characters essentially are the same.

Asif Ali, Nishan, Devan, Kalaranjini, Ananya, Amala Paul and almost all other have done a good job in the film, but it's Abhishek who steals the show. His is relatively an underwritten part, especially during the initial hour of the film, but the actor who is a natural delivers the goods with aplomb.

The solidity of the theme seems to have been lost somewhere along the film's journey from across the state border. Perhaps the film could have done much better had it been a careful revisal instead of a mere remake that it has turned out to bes characters essentially are the same.

Asif Ali, Nishan, Devan, Kalaranjini, Ananya, Amala Paul and almost all other have done a good job in the film, but it's Abhishek who steals the show. His is relatively an underwritten part, especially during the initial hour of the film, but the actor who is a natural delivers the goods with aplomb.

The solidity of the theme seems to have been lost somewhere along the film's journey from across the state border. Perhaps the film could have done much better had it been a careful revisal instead of a mere remake that it has turned out to be

Kudumbasree Travels Review|

What happens when an entire village with even the goats in tact, set out for the city to attend a marriage of one of their kinsmen on a bus named Kudumbasree Travels? Kiran's debut film attempts to take us along on this long drive with a shaky script that matches up in its pattern to the pits and dents on our public roads.

Aravindan (Jayaram) is a Chakyar Koothu artist, who after many an attempt has finally found a Nangyar Koothu performer to marry. His bride-to-be Aswathy (Bhavana) stays at Cochin, and it might be just a coincidence that the City Police Commissioner and his daughter (Radhika) have been kidnapped by terrorist who have sinister plans to bomb the city. Unaware of the danger that awaits them, Aravindan with his family and friends embark on a voyage from their tiny village to the big bad city.

The villagers that make up Aravindan's kith and kin look like they are from another planet altogether, and get all perked up on hearing of an opportunity to see Cochin. They squeeze themselves into the bus in no time, and the goat traveling with its owner Khadeeja (Kalpana) gets the back seat.

There is only one assumption on which the film could be based, which is that when your only intent is to make people laugh, the story could be chucked under the bus wheels. So we have Aravindan missing the Muhurtham on the first day, since the city traffic plays foul. Without further delay, the marriage is fixed again on the consecutive day, that has a Muhurtham that would last for exactly a minute. Aravindan misses that one as well, for quite unmentionable reasons.

Getting two people tied in a wedlock is probably the easiest thing on earth, at least from what you see in Kudumbasree Travels. There are no hassles, whether it be the ones regarding the wedding feast, the invitations or the wedding hall. Everything is perfect in this part of the world. All you need to do is get married.

The jokes are all there, and if you are the kind to break a rib laughing, watching someone get into a mess for no fault of his, this film could interest you. I am talking of the kind of humor when someone peeks into a room to steal a suitcase and a woman who is busy changing clothes comes screaming out much to his surprise.

Jayaram does a fine job as Aravindan, though this is no earth shattering role as such. Bhavana looks gorgeous. The scene stealer in the film is Maniyanpillai Raju though, who as the village astrologer is a scream.

At one particular point in 'Kudumbasree Travels' Janardhanan, who plays a key role in the film exclaims aloud that its impossible to believe that the events happening around him are taking place for real! We are all with you on that, sir! This is unbelievable stuff, indeed.
What happens when an entire village with even the goats in tact, set out for the city to attend a marriage of one of their kinsmen on a bus named Kudumbasree Travels? Kiran's debut film attempts to take us along on this long drive with a shaky script that matches up in its pattern to the pits and dents on our public roads.

Aravindan (Jayaram) is a Chakyar Koothu artist, who after many an attempt has finally found a Nangyar Koothu performer to marry. His bride-to-be Aswathy (Bhavana) stays at Cochin, and it might be just a coincidence that the City Police Commissioner and his daughter (Radhika) have been kidnapped by terrorist who have sinister plans to bomb the city. Unaware of the danger that awaits them, Aravindan with his family and friends embark on a voyage from their tiny village to the big bad city.

The villagers that make up Aravindan's kith and kin look like they are from another planet altogether, and get all perked up on hearing of an opportunity to see Cochin. They squeeze themselves into the bus in no time, and the goat traveling with its owner Khadeeja (Kalpana) gets the back seat.

There is only one assumption on which the film could be based, which is that when your only intent is to make people laugh, the story could be chucked under the bus wheels. So we have Aravindan missing the Muhurtham on the first day, since the city traffic plays foul. Without further delay, the marriage is fixed again on the consecutive day, that has a Muhurtham that would last for exactly a minute. Aravindan misses that one as well, for quite unmentionable reasons.

Getting two people tied in a wedlock is probably the easiest thing on earth, at least from what you see in Kudumbasree Travels. There are no hassles, whether it be the ones regarding the wedding feast, the invitations or the wedding hall. Everything is perfect in this part of the world. All you need to do is get married.

The jokes are all there, and if you are the kind to break a rib laughing, watching someone get into a mess for no fault of his, this film could interest you. I am talking of the kind of humor when someone peeks into a room to steal a suitcase and a woman who is busy changing clothes comes screaming out much to his surprise.

Jayaram does a fine job as Aravindan, though this is no earth shattering role as such. Bhavana looks gorgeous. The scene stealer in the film is Maniyanpillai Raju though, who as the village astrologer is a scream.

At one particular point in 'Kudumbasree Travels' Janardhanan, who plays a key role in the film exclaims aloud that its impossible to believe that the events happening around him are taking place for real! We are all with you on that, sir! This is unbelievable stuff, indeed.

Why does the counter viewpoint push my apparent sketch?

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Oviya Hot Saree Gallery

Oviya latest new saree stills

Oviya Hot Saree Gallery

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