One-way ticket

to mediocrity

Tuesday, 24

June 2008

A one-way ticket to a bird-brained movie. A failed attempt to tickle the funnybone of the audience. This is the best way to describe Prithviraj's first offering of the year, 'One Way Ticket'.

Review by P.Muraleedharan

Bipin Prabhakar, in his second movie as director, grapples with a loosely strung screenplay which, like an untied horse, digresses whenever it can. The plot has nothing new to offer.

Prithviraj has given a passionate performance in the role of a Mammootty fan, Kunjappu. And Mammootty plays himself in the film, as one who comes to the rescue of Kunjappu and his team of fans once too often. Some years earlier, Mammootty had played himself in 'No 20 Madras Mail' in the Mohanlal-starrer by Joshi, and it was a superhit.

Though Mammootty is at his natural best in the movie, the unnatural script does not give him a chance to be effective. The script writer Babu Janardanan has tried to weave the Lal Jose-Dileep film on star-fans ('Rasikan') into the plot with a disappointing result. That is, too many loose ends, oversights and impossible improbabilities. Kunjappu threatens a circle inspector of police in the police station many times!

The presence of Mammootty gifts the viewer with a sneak preview of the upcoming Mammootty film, 'Parunthu'.

The story, set in Kondotty, Mammootty's 'fandom', has Kunjappu as the general secretary of the 'Mammootty Fans Association'. The film begins with a car chase, in which Kunjappu and team succeed in 'capturing' the film box of a Mammootty-starrer to exhibit in the theatre of their area. That sets the tone of the film!

Kunjappu, inspite of all his pranks, is one who lives for his big family. He drives a jeep to ferry school children to earn his living. He has a rich uncle (Jagathy Sreekumar), who is afraid that his daughter Sahira (Radhika) may elope with Kunjappu. The latter stokes his uncle's fears by pretending to be in love with Sahira.

True love strikes when he meets Sunanda (Bhama) at a marriage. By the time he realises that it was all a mistake, things go out of control. Sunanda is a girl in need of a saviour- to save her from the clutches of her uncle Ezhuthachan (Thilakan) and his rowdy of a son Sasi (Nishanth Sagar), who wants to marry her for her riches.
And Kunjappu does it with style, with timely help from his hero, Mammootty.

Neither a comedy, nor a serious film. That is the tragedy with 'One Way Ticket'.

Thilakan as the villain has nothing to do. He doesn't even have to take his dark goggles away. What a crime to waste a talent like him! As his scheming son, Nishant Sagar passes muster. He looks menacing in his new hairdo. Jagathy, as usual, is very good as Hajiyaar. Salim Kumar, Jagadeesh, Suraj Venjarammoodu, Sukumari... All have nothing worthwhile to do. Same is the case with Bhama and Radhika.

The music, set by Rahul Raj, is forgettable, to say the least.

Prithviraj himself has said that of the innumerable stories he hears on a daily basis, there are very few that has substance. Poor fellow, he is deceived yet again!

The film that takes off like a comedy seldom raises a laugh. Most of the comedy fall flat, as they look contrived and out of place. The film could have discussed at least some problems related to fan clubs in the state.

In the title cards, Prithviraj is described as the "Fire of Youth". Sure, he has spared no efforts in delivering an energetic performance. He dances beautifully and fights with great style and timing. In fact, his fight at the railway station is a treat to watch.

The youth factor may prop up the film at the box-office, as in the case of 'Kangaroo', a Prithvi-starrer released last year.

India Syndicate

Award glory for item girl

The journey of Priyamani from obscurity to stardom

By P.Muraleedharan

What a turn around it is for Priyamani! After making her debut in the tinsel world in 2004, it took her three years to reach stardom, which fell on her lap overnight once ‘Paruthiveeran’ happened. Now, for her performance in the same film, she is honoured with the national award.
In the three years after her debut, Priyamani could act in only five films. But in just a year after ‘Paruthiveeran’ directed by Ameer Sulthan, she has done almost 8 films in Tamil and Telugu! Ah…When Lady Luck smiles, everything falls into place.
In the history of South Indian films, this is the first time that an actress, who acted mostly in glamour roles, is selected for the national award. Exception may be Tabu ( 1997, ‘Maachis’ and 2002, ‘Chandni Bar’). Anyway, Tabu was not known for her item numbers.
It is here that Priyamani stands apart. She can show off her thunder thighs in ‘Malaikottai’ soon after the rural innocence of ‘Paruthiveeran’ and an ultra-glam-role in ‘Thotta’. She had stated earlier that she did not want to be type-cast in the mould of ‘Muthazhagu’, the heroine in ‘Paruthiveeran’. May be, what she has done is good for her career, as more chances are there for ‘modern girls’.
Born in Palakkad in 1984 to Vasudeva Mani Iyer and Latha Mani Iyer, Priya made her debut in ‘Kangalal Kaithi Sei’, directed by Bharatiraaja. It flopped, followed by another flop in ‘Adhu Oru Kanaakkaalam’ directed by Balu Mahendra. In between, she acted in movies like ‘Satyam’ in Malayalam, which also failed to make a splash.
It was then that ‘Paruthiveeran’ came along. Opposite the debutant Karthi, she enacted the role of a simple village lass with such conviction and force that though the film is hero-centric, nobody could ignore her. Her spontaneity and energy were such that the audience broke into smiles when she giggled and cried when she met with her tragic end.

Source: India Syndicate

Wednesday, 11 June 2008

Slugfest in Mollywood!

Malayalam film industry is going through a crisis that calls for level-headed leadership and unity. But, what the captains of the industry are engaged in is an all out battle to settle scores among themselves!

By P.Muraleedharan
Who says Mollywood lacks in action and thrills? Even though the films released recently are devoid of action and passion, the actors, directors and producers are slugging it out in the open. The Malayalam Cine Technicians Association (MACTA) Federation has split, and the breakaway faction has decided to form a new outfit. And war cries are heard all over!
The latest is that the Malayalam Cine Technicians Association (MACTA) Federation, an apex body of 19 unions of the Malayalam film industry with about 4,000 members, has split vertically.
It all began with the refusal of actor Dileep to work in a film by Thulasidas, “despite accepting an amount in advance”. And MACTA had decided to ban Dileep. But what made matters worse was the high-handed treatment meted out to director Siddique, who had cast Dileep in his forthcoming film. There has reportedly been a terrible exchange of words during the MACTA meeting.
What followed was a spate of resignations. About 30 directors, including K.Madhu (the president of the outfit), Priyadarshan, Kamal, Renjith, Joshi, Renji Panicker, Sathyan Anthikad, Srinivasan, Fazil and Blessy bade good bye. All conciliatory attempts failed, including those by the representatives of IFEC (Indian Film Employees Confederation) and FEFSI (Film Employees Federation of South India).
Their main grouse is against Vinayan, the general secretary of MACTA. Deploring the “cultural degradation” prevailing in the organisation, directors Renji Panicker and Sibi Malayil made it clear that it was difficult to continue under Vinayan.
The new outfit has claimed the support of AMMA (Association of Malayalam Movie Artistes), the Kerala Film Producers Association and the Film Distributors Association.
Though the breakaway faction seemed to be on course for the victory lap in the beginning, the support of the national unions have bailed out MACTA and Vinayan. IFEC general secretary S.Vijayan has made it clear that ‘'we will not cooperate with the films to be made by the directors, who parted ways with the MACTA Federation’'.
For the two warring groups, there is no other way than a fight to the finish. Watch out for the next episode !

Source: India Syndicate

Charm of the Chatterjee

Soumitra Chatterjee has been given the National Award for the Best Actor. Here is a tribute to one of the greatest actors India has ever seen.

By P.Muraleedharan
What is Soumitra Chatterjee to Indian cinema? He is no mega star like Amitabh Bachchan, no style-king like Rajnikanth and no heartthrob like Shahid Kapur. But, Soumitra revolutionized film acting in India as no other has done before. He brought in a new sensibility, reveled in the delineation of the subtle nuances of human psyche and remained an actor rather than a star. Endowed with a masculine but sensitive countenance, Soumitra was the ideal vehicle for showcasing Satyajit Ray’s psychologically rounded heroes. He was as efficient an actor with his words as he was with his silences. Indian cinema, with its emphasis on theatricals and declamatory dialogues, stood in awe as the Bengali geniuses went about their job.
Soumitra debuted in Satyajit Ray’s ‘Apur Sansar’ (1959), the last of the Apu trilogy. He impressed Ray so much that he went on to act in another 13 movies by the master. He was to Ray what Toshiro Mifune was to Akira Kurosawa or Marcello Mastroianni to Federico Fellini. Though he had acted in the films of acclaimed directors such as Mrinal Sen and Tapan Sinha, what would remain in memory are his roles in ‘Charulata’, ‘Devi’, ‘Teen Kanya’, ‘Aranyer Din Ratri’, ‘Ghare Baire’ and ‘Ganashatru’. His portrayal of Feluda in the Ray thriller, ‘Sonar Kella’, made him hugely popular.
In ‘Uttoran’, (the last script by Satyajit Ray) directed by Sandip Ray, Soumitra Chatterjee interprets the pulls and pressures experienced by Dr.Sengupta, a successful cardiologist. Ray’s complex commentary on modern medicine is conveyed by Soumitra with great finesse.
Chatterjee never lost his love for the theatre. He still acts and directs plays in Bengal.
He has received many honours from foreign shores, including the 'The Officier des Arts et Metiers', the highest award for arts from France and a lifetime achievement award from Italy. There is a full-length documentary film on him by the French director Catherine Berge, titled 'Tree'. He was awarded Padmabhushan in for his contributions to Indian cinema.
The National Award had eluded him all these years. As Buddhadeb Dasgupta, the chairman of the film jury for the 54th National Film Awards said, “He should have been given the award a long time back. But yet, we thought a chance had come to honour him.”
There is no doubting that the award comes too late for Soumitra. “Personally, after decades of acting, I do not attach too much value to it,” he told a reporter.
The award was given in recognition of his work in ‘Podokkhep’, but it is a tribute to one of the greatest actors Indian screen has ever seen.

Source: India Syndicate