Category: Malayalam Movie Reviews

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Kalamkaval: More of a Mammootty showreel

Kalamkaval is an absolute treat for Mammootty die-hard fans. The actor does a fantastic job as the charming serial killer, but the film needed more polish. The women targeted by the protagonist have been written with zero care making it difficult to care for them. Vinayakan as the determined cop proves to be the perfect foil with his understated but very effective act.

Starcast: Mammootty, Vinayakan and others

Genre: Crime

Director and writer: Jithu K Jose

Additional writer: Jishnu Sreekumar

Producer: Mammootty

Production Company: Mammootty Kompany

Music: Mujeeb Majeed

Cinematography: Faisal Ali

Running time: 2 hours and 17 minutes

The story of Cyanide Mohan a notorious serial killer has caught the fancy of numerous filmmakers. Both movies and web series on how he trapped women systematically have come in the recent past. A good example is Dahaad streaming on Amazon Prime. The web series had the excellent Vijay Verma in the role of a supposedly mild manner college professor and a noble man doing social service. His actual reality though is something else. The 2025 Zee 5 Film Bhagwat Chapter one: Raakshas saw the Panchayat actor Jitendra Kumar in a surprisingly dark role.

Vijay Verma in Dahaad

Now you have Kalamkaval also inspired from the same terrain. The big difference here is the presence of the legendary Mammootty as the ladies’ man/psychopath. As earlier said the film often plays like an expensive showreel with him getting the meatiest scenes. This is both a plus and a minus: something which I will get to later. In simple terms Kalamkaval focuses on a seemingly ordinary man targeting a specific category of women. There are zero surprises regarding his identity. So, the question here is more about how the antagonist gets caught through the efforts of a honest and resolute cop Jayakrishnan (an excellent Vinayakan).

A strong aspect of Kalamkaval is the chilling atmospherics. A major credit for that goes to background score and cinematography. The shift of mood when Mammootty goes from charming to a beast has been wonderfully done. It gives ample thrills making the viewers scared about the protagonist’s psychological mindset. The cinematography is of an excellent order too. The duality of the antagonist with a sharp contrast between his family life and the sinister side is first rate. Both Mujeeb Majeed and Faisal Ali deserve distinction marks for a job very well done.

Mention must also be made of the psychoanalytical commentary. There is an important conversation between Jayakrishnan and his senior officer about the extreme dark nature of human beings. The conversation raises some important points on how the minds of a certain section work. This portion is brief, but it gives a psychological insight into the modus operandi of men like Cyanide Mohan.

It goes without saying that Mammootty is excellent. In spite of playing an antagonist previously too like Puzhu and Bramayugam the veteran actor shines bright even when proceedings start to get repetitive. How he turns the charms on when required and unleashes the venomous side strategically is a masterclass in acting. Vinayakan as Jayakrishnan is more subdued but the actor more than makes his presence felt. He is first rate in capturing the gritty nature of an honest cop.

Other than the two leads no other actor registers and this is a major issue with Kalamkaval. The women targeted by Mammootty especially have zero shades. They mostly exist to be impressed and then killed. This aspect makes Kalamkaval somewhat a tedious experience. Also, the stylish presentation of a serial killer to the point of romanticization needed to be avoided. A more earthy approach would have helped the proceedings.

The movie also suffers due to a major hangover of both Dahaad and Bhagwat Chapter one: Raakshas. The former particularly comes to the viewers mind especially for those who have seen the web series. The slow pace of police investigation and also the duality between antagonists’ domestic life and what he actually is feels like a major replica of that one.

Final word: Kalamkaval is worth watching to see Mammootty experimenting with different roles but a tighter narration with better women characters would have enhanced the final product.

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Kotha Lokah chapter 1(Chandra): Indian Cinema’s Wonder Woman

Actor and producer Dulquer Salmaan deserves major appreciation for backing a female centric project like this. The film is a good mix of western tropes with strong folklore. At times the film bears a striking resemblance to the Tripti Dimri starrer Bulbbul too, in terms of the men targeted by the protagonists coupled with the strong personalities.

Starcast: Kalyani Priyadarshan, Naslen, Sandy, Arun Kurian, Chandu Salimkumar and others

Genre: Fantasy/action

Story, direction and screenplay: Dominic Arun

Additional screenplay: Santhy Balachandran

Producer: Dulquer Salmaan

Production house: Wayfare Films

Music: Jakes Bejoy

Cinematography: Nimish Ravi

Running time: 2 hours and 29 minutes

Before dissecting Kotha Lokah Part 1 (Chandra) a major appreciation should be given to actor and producer Dulquer Salmaan. Backing a female superhero subject on a big scale takes a different kind of thought process and Dulquer deserves every bit of appreciation for making sure that the film doesn’t come across as a compromised product. Technically speaking Kotha Lokah Part 1 (Chandra) is far ahead of the many big budget extravagances specially a movie like War 2 with its shabby VFX. Fortunately Kotha Lokah Part 1 is much more than just the visuals. It has a strong plot with the right fusion of west meets east. The film also benefits from Kalyani Priyadarshan’s strong act something which I will get to later.

Dulquer Salmaan the producer of the movie along with a small cameo

The storyline of Kotha Lokha Part 1 (Chandra) focuses on the mysterious Kalyani Priyadarshan She lands in Banglore and soon finds work in a coffee shop. Chandra is asked to maintain a low profile by a mystifying man Moothon (voice over given by Mammootty). Chandra tries her best to maintain a low profile but the past catches up soon due to the neighbor Sunny (Naslen of Premalu fame). Sunny is very curious about Chandra’s real identity and this leads to a stunning revelation. Parallelly the city of Bangalore is witnessing cases of organ trafficking, how these two tracks collide forms the centric basis of Kotha Lokha Part 1 (Chandra).

A strong aspect of the movie is the efficient world building done by Dominic Arun and Santhy Balachandran. Unlike the many big screen extravagances focusing on elevations this one takes its time to establish the world of Chandra and Sunny. The portions of Sunny with his wastrel friends may seem to be an unnecessary subplot in the beginning but how the director connects the two worlds is brilliant.

The integration of Chandra’s origin story with actor Vijayaraghavan’s narration is also fantastic. It comes in at the right moment giving a solid emotional touch. The haunting visuals of Nimish Ravi coupled with Jakes Bejoy’s music elevates this stretch further. The touch of Kerala Folklore with the template of modern superhero will be a delight for fans of sci fi and superhero movies.

A growing bond between Sunny and Chandra with an undercurrent of romance is also a treat to watch. By the ending you wish the two had met in different circumstances. As Sunny Naslen is an absolute riot with his expressions and one liners. There is an inherent sweetness to the part in spite of a certain lazy nature and Naslen does a very fine job in bringing that out. Mention must also be made of Chandu Salimkumar, he also brings in a fair share of laughs sharing a perfect chemistry with Naslen.

What also makes the film click are the real world issues through a conservative a police inspector Nachiyappa Gowda (a despicable Sandy). Nachiyappa Gowda is a traditionalist who doesn’t like women with modern traits. This comes out visibly in different occasions. So the character of Chandra represents a superwoman taking on patriarchal structures while standing up against the organ trafficking ring.

The major ace for the film apart from the visuals is Kalyani Priyadarshan’s strong act. She is absolutely wonderful in the action sequences bringing in a strong agility. Apart from the physicality the actress is also good in bringing an emotional depth specially in the second half scenes with Sunny. In a short its a performance which has the right mixture of fierceness and vulnerability.

Talking about the cameos Tovino Thomas has an extended special appearance and the actor seems to be having a ball enjoying the whacky characterization. Dulquer Salmaan comes at the end, he has a stylish entry. In spite of the limited screen time the swag is unmissable.

Final word: Kotha Lokha Part 1 (Chandra) is a big scale experiment worth appreciating in theatres.

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Lucifer 2/ Empuraan: A fine balance between fan appeasement and politics

Much like the first part, director and actor Prithviraj Sukumaran creates an intricate world gradually revealing the various layers. The movie beats are familiar to part 1: at the same time he is successful in building fresh socio-political scenarios particularly the angle of religious propaganda
  • Starcast: Mohanlal, Manju Warrier, Tovino Thomas, Abhimanyu Singh, Prithviraj Sukumaran and others
  • Genre: Action thriller
  • Director: Prithviraj Sukumaran
  • Writer: Murali Gopy
  • Producers: Antony Perumbavoor and Gokulam Gopalan
  • Cinematography: Sujith Vasudev
  • Music: Deepak Dev
  • Production Companies: Lyca Productions, Aashirvad Cinemas etc.
  • Running time: 2 hours and 59 minutes

Lucifer 1 directed by Prithviraj Sukumaran and featuring the legendary Mohanlal was a good mixture of fan service and a turbulent political landscape. The movie focused on the huge vacuum left by the death of Sachin Khedekar’s PK Ramdas. The power dynamics, particularly who would become the next leader formed the central plot of the movie. Mohanlal’s Stephen Nedumpally is a powerful and mysterious man changing the course of the story. Initially not much is known about him but slowly viewers come to know about the influence he yields. He plays a significant role in the ensuing political drama.

A major strength of Lucifer 1 was the grey shades of not just Mohanlal but also the other important players, specifically Vivek Oberoi who nailed his negative role. The biblical references also gave the movie a certain gravitas. With Lucifer part 1 Prithviraj Sukumaran showcased a different side to Malayalam cinema. The second part of Lucifer comes after a significant gap of six years. Part two of Lucifer/ Empuraan has clearly upped the scale in terms of presenting a larger-than-life cinema while retaining the political undertones.

Lucifer part 1 image

The second part of Lucifer begins with a disturbing incident of communal violence. Hindu pilgrims are killed in a burning train leading to an absolute mayhem (we are reminded of Godhra). There is a lot of bloodshed with a small Muslim community being butchered, raped and killed by Balraj (Abhimanyu Singh) and his men. The lone survivor is Zayed Masood (Prithviraj Sukumaran). These beginning portions set the political undertones of part two. From here the focus shifts to God’s own country Kerala. Jathin Ramdas (Tovino Thomas) son of late PK Ramdas blinded by hatred towards his late father makes the decision of joining a party which is both extremist as well as communalist. Abhimanyu Singh’s Balraj is the head of this one. The subtle political subtext of the plot can be easily understood if the viewers scratch beneath the surface. Running parallel to this, an international conflict between two crime syndicates unfolds. At this juncture Stephen Nedumpally also known as Abraham Quereshi makes a comeback to the state of Kerala.

As already mentioned, Lucifer 2 has an intricate plot gradually revealing the various layers. The first half has a slow build up as it juggles between various tracks. This can be a patience tester for a section. Also, Mohanlal’s entry much like the first part takes its own sweet time but the slow build up is worth the wait in the eventual scheme of things.

The delicate balance between fan appeasement and the social commentary is a sheer delight to watch. At the beginning of the movie there is a quote “Power corrupts, but absolute power corrupts absolutely.” This angle comes out strongly in the character sketch of Tovino Thomas whose personality has undergone 360 degrees turn. The creeping ideological differences between Jathin Ramdas and the sister Priyadarshini played by Manju Warrier give the movie some of its best moments.

One of the major themes in Lucifer 2 is the angle of religious extremism and the terrible effect it has on humanity. There is an important dialogue delivered by Nikhat Khan in an extended special appearance regarding how the future generation shouldn’t get caught in the trap of religious propaganda and the dangers of religion as a tool in politics.

Mohanlal as Stephan Nedumpally also known as Abraham Quereshi/Lucifer once again delivers a strong act in spite of having a late entry. Mohanlal brings in the right amount of charisma and mystery making Stephen a very enigmatic person much like his other popular character George Kutty from the Drishyam films. The actor conveys a lot with his subtle expressions. A particular mention must be made of Mohanlal’s performance in the scenes where he meets Indrajit Sukumaran’s Govardhan and a pastor cum father figure. There is a visible political and religious subtext giving the viewers goosebumps.

Manju Warrier’s character has a different arc this time and the actress does a very good job in showcasing the evolution of Priyadarshini. The way she portrays the strong inner strength in a nuanced manner makes for a wonderful watch.

Prithviraj Sukumaran as Zaya Masood much like the first part has limited screen time, still he makes his presence amply felt. The backstory gives a certain emotional heft which Prithviraj makes complete use of. Of course, the dynamics between Stephan and Zaya could have done with more exploration, still the back story gives an emotional insight into why Zaya is a trusted aid of the titular protagonist.

Prithviraj and Mohanlal from a song in Lucifer/ Empuraan 2

Abhimanyu Singh as Balraj also makes a significant impact, although his character arc lacks the nuances of what Vivek Oberoi played in the first one. Tovino Thomas also shows his versatility with his excellent portrayal of a changed man.

Tovino Thomas also shows his versatility with his excellent portrayal of a changed man

Technically speaking Lucifer2 / Empuraan is a visual feast with its grand scale. The cinematography of Sujith Vasudev enhances the movies visual appeal. The background music is also of a very high standard particularly in the combination scenes of Mohanlal and Prithviraj.

Final word: Lucifer 2/ Empuraan is a worthy follow up. It treads on familiar lines while giving something new.

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Officer on Duty: A taunt investigative drama

The best thing about Officer on Duty is how director Jithu Ashraf humanizes the protagonist who is deeply flawed both as a police officer and human being. However the film is also guilty of repeating familiar troupes involving violence and brutality against women.
  • Starcast: Kuchacko Boban, Priyamani, Jagadish, Vishak Nair and others
  • Director: Jithu Ashraf
  • Genre: Crime drama/ thriller
  • Writer: Shahi Kabir
  • Cinematography: Roby Varghese Raj
  • Music: Jakes Bejoy
  • Producers: Martin Prakkat, Renjith Nair and Siby Chavara
  • Production Company: Martin Prakkat Films
  • Running time: 2 hours and 17 minutes

In Indian cinema portrayal of cops as can be broadly divided into two major categories. On one hand you have the very righteous police officers like Ajay Devgan from the Singham films or even Prakash Jha’s Gangajaal. On the other hand you have someone like Sangaram Bhalerao akka Simmba inspired by the junior NTR starrer Temper. In both Temper and Simmba the leading men start off as corrupt police officers more interested in acquiring money than helping common men. Eventually though they undergo a huge metamorphosis.

Jithu Ashraf’s Officer On Duty on the other hand focuses on an extremely short tempered cop with a huge emotional baggage. The movie wastes no time in establishing the personality of Kuchacko’s CI Harishankar. We see him getting extremely angry at his subordinates and also hitting a women on her stomach just because he considers her a suspect. His relationship with the wife Geetha (a solid Priyamani) is on the verge of dismantling. At the same time Harishankar carries the baggage of an emotional trauma due to the death of his elder daughter, she is the victim of a vicious gang who runs a big chain of drug trafficking and also sexual crimes. Initially the movie appears to be about a minor crime related to a fake gold chain but as the plot progresses things start getting sinister with some major revelations.

BTS shot from Officer on Duty

A strong aspect of Officer on Duty is how Jithu Ashraf along with Shahi Kabir gradually reveal the various layers. How a minor case of a fake gold chain snowballs into something very dangerous keeps the viewers guessing about where the movie is heading. The characterization of the central character coupled with a fantastic Kuchacko Boban is another major plus for the movie.

The violent streak in Harishankar is wonderfully balanced with the psychological trauma he is going through. A very good example of this is the scene where Harishankar stumbles upon a hanging body triggering a panic attack. How Harishankar reacts and the subsequent portions leading to an important flashback leads an emotional weight to the proceedings.

The introduction of the drug trafficking gang lead by a psychotic Vishak Nair in the role of Christie adds further intrigue to the proceedings. The second half features numerous intense sequences where Harikrishna is desperate to catch this criminal gang. There is an important mini flashback in the second half dwelling into a personal animosity linked with the wife of Harikrishna. In this portion there is a dastardly police officer whose inhuman behavior act as a major trigger for the heinous set of crimes.

The sequences of substance abuse portions doesn’t boast of any novelty as it is mostly a series of close up shots involving white powder still the movie keeps the viewers engaged. A particular mention must also be made of the gruesome action sequences. These portions by nature aren’t everyone’s cup of tea still it’s a treat for those who enjoy raw and hardcore action. There are numerous shots of Harikrishna and Christie getting physically wounded but still taking on each other.

Jakes Bejoy’s background music also plays a major part in adding to the atmosphere of dread. His music is also of a good standard. The cinematography of Roby Varghese Raj is very gritty giving it an authentic feel.

As already mentioned Kuchako Boban is simply top notch in a complex part. He plays the troubled police officer with utmost ease. He particularly shines in the intense sequences. Priyamani as Geeta also makes her presence amply felt. In spite of having less screen time she is successful in bringing out the inner strength of strong mother.

Mention must also be made of Jagadish as Chandrababu. The actor delivers a heartfelt performance as the father going through a tough time. Among the baddies Vishak Nair and Ramzan stand out. After his terrific negative role in Kangana Ranaut’s Emergency Vishal Nair impresses once again perfectly embodying the ruthlessness and the psychotic nature of Christie.

Harishankar versus Christie

Final word: Officer on Duty is worth watching if you are a fan of violent crime thrillers/drama

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All We Imagine As Light: A compelling slice of life drama about female friendships along with the hustle and bustle of Mumbai

  • Starcast: Divya Prabha, Kani Kusruti, Chhaya Kadam, Hridhu Haroon and others
  • Director and writer: Payal Kapadia
  • Producers: Thomas Hakim and Julien Graff
  • Production Companies: Petit Chaos, Chalk &Cheese Films etc
  • Cinematography: Ranabir Das
  • Music: Topshe, Guebrou etc
  • Running time: 2 hours and 4 minutes
  • Genre: Slice of life/drama

Payal Kapadia’s All We Imagine As Light can be categorized into two parts. The first half focuses primarily on the tough lives of migrant workers, people coming from far off places trying to make a place for themselves in alien surroundings. In this case it is the busy city of Mumbai where numerous people come from different areas trying to make a living. In the second half there is a tonality shift as it focuses on two of the central characters coming out of their closet and taking a stand. This mixture of themes is not seamless, still there is a lot to savor particularly for those who enjoy layered stories.

All We Imagine As Light majorly focuses on the lives of three women headed by Prabha (Kani Kusruti), she is head nurse in Mumbai hospital. Prabha was abandoned by her husband a long time back. From the outside she may appear unaffected but there is an unspoken loneliness. Then there is the rebellious Anu (Divya Prabha). Anu is trying to establish herself in this city of dreams, she is in love with a Muslim man which can lead to dangerous consequences. Lastly there is Chhaya Kadam’s Parvati, Parvati also works in the same hospital. She is asked to vacate the apartment by the property developers who want to construct a big building in that place. Parvati has been living in Mumbai for a very long time, yet she is not able to prove that the house is hers. Upon losing the battle she returns to her native seaside village. Anu and Prabha go to help her in relocating, leading to a significant change in their lives.

All We Imagine As Light majorly focuses on the lives of three women

A strong aspect of All We Imagine As Light is how Payal Kapadia captures the struggle of immigrants. She portrays the sense of alienation which outsiders feel even after staying so many years in their city of dreams. In fact, the city of Mumbai becomes a major character in itself. The divide between the haves and have nots has been explored subtly. The duality of a big city like Mumbai where there is both belonging and alienation has a gritty feel.

What also makes the first half an immersive experience is the cinematography of Ranabir Das. Through his lens he skillfully captures both the race of life and also the loneliness of the people living there.

The wonderful characterization of all the three women is another big strength of the movie. They have distinctive traits making the movie very engrossing. The chemistry between the three actresses is an icing on the cake. The sisterhood comes out strongly, it has a lived-in feel adding to the immersive experience.

The director also deserves credit for how she portrays the loneliness and vulnerabilities with simple, yet very effective scenes. For example, in one scene Prabha is seen embracing a rice cooker. This simple act brilliantly conveys Prabha’s yearning for sex/husband’s touch.

As already mentioned, the second half has a tonal shift which slows down the movie. There is a scene of extended intimacy between Anu and her Muslim lover in the beach. This stays on for a little too long. Similarly, there is a confusing bit where Prabha saves a man who is initially suspected to be dead. The purpose of this bit takes a while to understand, at one point the viewers may think that this man is actually the husband who had abandoned her, but it turns out to be something else. This illusion proves to be an effective catalyst in Prabha getting over her past, but again it slows down the proceedings considerably. Crisper editing in both the above-mentioned portions would have made the film better.

It goes without saying All We Imagine As Light majorly runs on the shoulders of the three leading ladies. The trio are in fantastic form delivering brilliant performances. Kani Kursuti as Prabha gave a nuanced performance conveying her loneliness and the unspoken desires. Divya Prabha’s chirpiness works as a perfect foil to Kani Kursuti’s restrained act. She effortlessly portrays both the free-spirited nature as well as the inner conflicts. Chhaya Kadam successfully takes off from her feisty act in Laapata Ladies. She does a wonderful job in bringing out both her inner strength and also a palpable sadness. Her efforts to preserve her home and dignity amidst the mounting pressures gives the movie some of its best moments.

Chhaya Kadam in All We Imagine As Light. She successfully takes off from her feisty act in Laapata Ladies

All We Imagine As Light is a poignant take on resilience, female friendships and the power of healing through shared experiences. In spite of the bumpy second half this movie deserves a watch on the big screen.

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Aadujeevitham (The Goat Life): A heart wrenching survival drama led by an award winning performance from Prithviraj Sukumaran

An overindulgent second half does test the viewer’s patience but still there is a lot to savour
  • Aadujeevitam
  • Rating 3.5 out of 5
  • Starcast: Prithviraj Sukumran, KR Gokul, Amala Paul, Talib Al Balushi and others
  • Direction and Screenplay: Blessy
  • Based on: Book Aadujeevitam by Benyamin
  • Producers: Blessey, Jimmy Jean Louis and Steve Adams
  • Production Companies: Visual Romance, Jet Media Production and Alta Global Media
  • Music: AR Rahman
  • Genre: Survival drama
  • Running time: 2 hours and 52 minutes

Not so educated men going to gulf countries and working as labourers is a wide spread phenomenon. Their lack of education makes these men easy target and they often end up being slaves. Director Blessy has taken one such story from the novel Goat Days written by Benyamin. Survival dramas when done well make for gripping cinema and Aadujeevitham (The Goat Life) is a good example of that. It makes you feel strongly for the protagonist Najeeb and want him to come out safe.

Najeeb (Prithviraj Sukumaran) is a man living happily with his wife Sainu (a charming Amala Paul) when the movie starts. He is from Kerala. In order to earn more money and give a better life to his family Najeeb decides to go to the gulf with his friend Hakim (K R Gokul). Upon reaching Saudi Arabia they find themselves in a clueless situation without knowing who their boss is.

Suddenly a local Arab approaches them. Najeeb and Hakim think that this Arab is their boss. Najeeb’s dreams of a better future come crashing down when he is dropped off in the middle of a desert to look after goats and camels.  Najeeb knows only Malayalam but that is of no use to him there. He struggles to communicate with the owner of that place known as Kafeel.

He eventually becomes a goat herder with days turning into weeks, months and even years. Hope comes in the form of another immigrant an African by name Ibraham Khadiri (Jimmy Jean Lousis). Ibraham Khadiri promises to help Najeeb and Hakim to escape. The rest of the story is about the various hardships that they face and how Najeeb finally manages to get out of the desert and is able to reconnect with his family.

At audio launch with AR Rehman

A strong aspect of Aadujeevitham is how Blessy has presented the life of Najeeb in detail without any hurry. The flashback portions of Najeeb’s happy life in Kerala and his present situation has been well juxtaposed. Najeeb’s scenes with his wife give much needed relief in an otherwise heavy drama, the transformation of Najeeb from a healthy man swimming with abandon in the Kerala backwaters to someone who becomes very thin and unkempt gives Goosebumps to the viewers. A scene which deserves a particular mention here is the one when Najeeb checks himself in the mirror of a van after a long time and is astonished on how much his body has changed.

Najeeb’s struggles in rearing the goats and how he develops a bond with them later has also been well depicted, there is a wonderful scene in the post interval portion where Najeeb breaks down while bidding goodbye to the goats and the camels. It is a heart touching scene.

Sunil K’s cinematography is another big highlight of Aadujeevitham. He does a splendid job in capturing both the beautiful back waters of Kerala and also the vast desert where Najeeb and Co undergo many hardships. His cinematography particularly stands out in the scenes of sand storm.

A.R Rahman’s songs and the background score also add much to the film. The BGM is a mixture of Arabic, Indian, Islamic etc. The songs come at the right juncture whether it is the romantic one with Amala Paul or the most intense theme song.

What pulls down Aadujeevitham though are the dragged post interval portions. The various hardships that Najeeb faces in going back home needed more trimming. While it is understandable that Blessy wants the viewers to empathise with the plight of Najeeb but a certain boredom creeps in making the audiences impatient. The character of Ibrahim is a little vague. We don’t understand why he is not tired, not thirsty like the other two.

Prithviraj, a superlative performance, with Amala Paul

A lot has been already said about Prithviraj Sukumaran’s performance and how he has gotten into the skin of the character. It is definitely a life changing performance for the actor. His physical transformation into a thin and unkempt man is on par with the best of international actors like Tom Hanks.

K R Gokul is another actor who stands out with his heart touching portrayal. Talib as Kafeel is successful in making the audiences hate him. Amala Paul does not have any heavy lifting but still she made her presence amply felt.

https://www.primepost.in/a-heart-wrenchhingg-survival-drama

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King Of Kotha: Dulquer Salmaan Comes Out All Guns Blazing In This Lengthy But Gritty Gangster Drama

Director Abhilash Joshiy doesn’t reinvent the wheel but there is enough meat for fans of Dulquer and action lovers

Starcast: Dulquer Salmaan, Shabeer Kallarakaal, Prasanna Kumar, Shammi Tikalan, Aishwarya Lekshmi and others

Director: Abhilash Joshiy

Writer: Abhilash G Chandran

Cinematography: Nimish Ravi

Music and background score: Jakes Bejoy

Producer: Dulquer Salmaan and Zee Studios

Production Companies: Wayfare and Zee Studios

Running time: 2 hours and 55 minutes

Genre: Action/drama

Gangster films are one of the most overused genres in films across the world, whether it is Francis Coppola’s Godfather, Mani Ratnam’s Nayakan, Ram Gopal Varma’s Satya and Company among others. Debut director Abhilash Joshiy takes the familiar concept of two friends turning against each other and gives it a retro touch. At 2 hours and 55 minutes King of Kotha does test the viewers’ patience.  But what powers King of Kotha are the performances led by Dulquer Salmaan and Shabeer Kallarakkal. The film is also technically brilliant particularly the cinematography and the art direction.

King of Kotha is set in a fictional town by the same name. The time period is 1980’s. Raju (Dulquer Salmaan) and Kannan (Shabeer Kallarakaal) are buddies/gangsters. They have a strong brotherly bond. What makes them different from other gangsters is that they wouldn’t deal with drugs. Tara (Aishwarya Lekshmi) is the love interest of Raju. Things take a drastic turn when the brotherly bond with Kannan breaks. Due to certain reasons Raju goes into exile and Kotha is no longer the same. Prasanna Kumar plays the police officer Shahul Hassan. Paradoxically he brings Raju back to set things right in the current time.

The strongest pillar of King of Kotha is easily the dynamics between Raju and Kannan. Abhilash Joshiy does a good job in exploring the friendship between these characters and also how things go sour between them. He manages to give some nice touches to this predictable angle. For example there is a scene in the second half when Raju and Kannan reminisce about their past days in a hotel room. In a particular moment Raju talks about his plans to set up a farm and grow apples in the future. This leads to a chuckle from Kannan.

Another angle worth mentioning here is the father and son relationship between Raju and Kotha Ravi (Shammi Thilakan). They share some good emotional moments.

Director succeeds in presenting Dulquer as a mass hero. Dulquer is presented as a feared gangster in both the past and the present but at the same time he is successful in humanizing Raju. There are occasions where Raju comes across as defeated both mentally and physically.  Dulquer Salmaan once again shows his versatility with a knockout performance.

The action sequences are raw in nature with doses of bloodshed. These sequences are not for all but still there is some thrill in seeing Dulquer delivering those punches. The background score by Jakes Bejoy is an absolute delight particularly in the scenes elevating Dulquer.

The cinematography of Nimish Ravi is another big plus for King of Kotha. He is successful in capturing the raw terrain through his lens.

Apart from Dulquer the other actor who makes a solid impression is Shabeer Kallarakal. The actor makes for a formidable opponent. In fact Dulquer shares more chemistry with Shabeer than his leading lady.

One big problem with King of Kotha is the very stretchy run time. There are passages which could have been easily chopped off. The predictable nature of things also plays a spoilsport. Some of the subplots could have been crisper.

Overall Dulquer’s performance coupled with the Visuals make this Kotha worth a visit.