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Hridayam Movie Review: Vineeth Sreenivasan delivers two feel-good films for the price of one

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I had two issues sooner than going into Hridayam. Its dimension and the 15 songs in it. Having viewed the movie, I’m capable of deliver that I cannot believe it without that dimension and other folks songs. Vineeth Sreenivasan has structured Hridayam in a technique that makes it seem such as you’re staring at two feel-factual motion photos for the designate of one. Or now now not it is love the Facet A and Facet B of an album. And the songs don’t exist factual for the sake of it. They act as markers for pivotal events in protagonist Arun Neelakandan’s (Pranav Mohanlal) lifestyles. Really, the Hridayam journey already started the day they launched the album. Or now now not it is the appetizer sooner than the buffet. While you slay up already familiar with the album, you are going to love them even extra as soon as you stare their placement within the movie. There safe been six songs that I wasn’t floored by when I first heard them, nonetheless I started to like them after getting a sense of the context. I am listening to the soundtrack as I write this review on memoir of I’d love to bask in in suggestions the most significant points.

Director: Vineeth Sreenivasan


Solid: Pranav Mohanlal, Darshana Rajendran, Kalyani Priyadarshan

Hridayam feels love a original that charts a character’s enhance from one allege a part of his lifestyles to at least one more. Vineeth Sreenivasan is now now not going for the humble war-resolution format. He has written the movie love a chain of war-resolution episodes, with the pre-interval portions covering Arun’s faculty lifestyles and the other half of exploring his submit-faculty experiences. (I loved how Vineeth uses the movie’s title in order of ‘Interval’.) Even supposing it employs the acquainted coming-of-age tropes, Vineeth makes them seem fresh again. Arun is a determined particular person to diverse other folks. He could well be the coolest guy you looked up to in faculty or the man who beat you up. I linked to Hridayam plenty on memoir of Arun commences faculty within the identical year I did (2006) and within the identical order (Chennai). So, I used to be as soon as zigzag appropriate from that opening scene exhibiting Pranav boarding a prepare where he meets his future friends for the first time. Or now now not it is that time sooner than smartphones modified into a means — when your phones looked extra love a video recreation console. Or now now not it is that time when you happen to interacted with non-Malayalis for the first time. Or now now not it is that time when seniors characterize you that the grill safeguarding your hostel hall is ineffective on memoir of they are going to resolve you and rag you it is now now not most significant what. Arun goes by way of all of it.

We safe now all had those moments in our unhurried 20s or early 30s where we consider the other folks we met within the course of our faculty lifestyles (batchmates to professors to canteen guys to wardens), and we surprise what took order to other folks that — factual or depraved — fashioned our formative years. In most cases you learn that the actual person you hated primarily the most serve then has now grew to become into anyone with whom you would snatch to hang around. While you come by to dangle anyone close, you learn that they are now now not the raging jerk you assumed they safe been. About a of them don’t switch and come by worse as they become older. When we first meet Arun, he is a animated guy with the roughly swag you wish you had within the first year of faculty. But meeting Darshana (Darshana Rajendran) modifications him into anyone unruly and brutish. He becomes inclined to errors and temptations, factual love most of us did serve then.

You stare, it is this therapeutic quality of Hridayam that I cherished primarily the most. It makes you’re feeling much less embarrassed about the awkward, foolish things you perchance did within the previous. Or now now not it is miles a movie that would now not believe in intention on previous errors. Or now now not it is love a friend that pats you on the serve and says, “Or now now not it is gorgeous, dude. Peep at these characters. They’ve moved on. No one cares anymore about what took order a decade within the past. You have to switch on too,” and you suspect to yourself that, certain, it is as uncomplicated as that. Or now now not it is now now not the close of the arena. This realisation need to’ve dawned on Arun too. He finds a technique to push himself, repeatedly, to place the whole lot on the serve of and develop staunch into a to blame younger grownup. He ends up appropriate where we prefer him to whole up. In most motion photos inspiring a love epic, it is the guys who in most cases safe command shifting on. This time, it is miles a woman. But even she’s going to in the end muster the facility to launch the next section of her lifestyles. Better unhurried than by no methodology, appropriate?

Oh, I forgot so to add one extra initial disaster — of Pranav Mohanlal becoming staunch into a movie of this nature. I used to be as soon as strange to stare how a filmmaker love Vineeth Sreenivasan would tackle him. The Darshana tune had already given us a faint glimmer of hope. But how would we offer out within the whole movie? I am cosy to grunt that Pranav delivers in spades. Pranav will get the transformation — from fallacious and rebellious to frail and to blame — appropriate. He also excels in those little moments where we meet minor characters who create a convincing affect irrespective of their screentime. What number of motion photos elevate out that? Hridayam’s most emotional and horrifying phase entails Arun’s friendship with a Tamil batchmate named Selva. It acts as its safe little movie, and you come by the sense that Vineeth is pulling off, in a minute methodology, his dream of constructing a Tamil-language honest. Or even he is warming up sooner than making a tall one. But any other poignant 2nd has Arun conversing with a Tamil-speaking stranger at a tea stall. The particular person, who seems to safe fallen on exhausting instances, tells him that he extinct to be a tall movie producer. In that instantaneous, you wish that things bought better for him too. You have to come by your answer within the movie’s third act. No one does feel factual love Vineeth Sreenivasan.

I also cherished the casting of Kalyani Priyadarshan as Nithya, the girl Arun will in the end marry. Hridayam is positively Kalyani’s most attention-grabbing hour. Anyone can characterize that Nithya is so ethical for Arun. She brings that critical-wished stage of heat, mischief, and humour in his lifestyles that we did now not survey in his interactions with Darshana. He is now now not reluctant to be below her regulate. Or now now not it is miles a match made in heaven. And Darshana Rajendran is aptly solid because the girl who thinks plenty sooner than making extreme lifestyles choices. She is now now not particular within the methodology that Arun or Nithya is. The involvement of these three actors proves as soon as extra that Vineeth has a pleasurable leer (and ear) for skills.

But Pranav, Kalyani and Darshana are now now not the only inspired casting picks in Hridayam. The fellow who performs Arun’s most attention-grabbing friend — I maintain now now not know his title — is wonderful too. Vineeth provides him an very smartly-behaved portion of humorous and emotional moments that create him endearing. I’m capable of characterize that he has a pleasurable future before him. Additionally terrific are all the actors solid as Arun’s batchmates. (One among the actors, Arun Kurian of Anandam-reputation, is already acquainted to us.) And Vineeth brings his trademark sense of humour in obvious scenarios that you simply first ask to safe a extreme outcome. And when you happen to could also simply safe the incredibly hilarious Johny Antony taking part in Nithya’s father, from where she bought her sense of humour. Speaking of supportive other folks, Vijayaraghavan performs Arun’s. A railway situation dialog scene introduced serve recollections of talking to my father on the Thalassery railway situation moments sooner than I boarded a prepare headed for Chennai’s Egmore situation.  

As a coming-of-age drama, Hridayam is to Vineeth Sreenivasan what Premam was as soon as to Alphonse Puthren. (If given a preference, I’d without anxiety steal Hridayam over Premam.) Or now now not it is one of those motion photos I desired to hug as soon as the close credit ranking started rolling. I also desired to hug Vineeth for making a movie with so many heartwarming moments and then daring to delivery it at a time when all individuals is repeatedly paralyzed by issues over a raging pandemic and the limitations imposed. I badly wished this movie. Thanks, Vineeth Sreenivasan and chums.

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Old Monk Movie Review: The comedy-drama will definitely lift our spirits

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With Outmoded Monk because the title and the innovative posters, trailers, teasers, and songs from the film ensured to pique the interests of the target market. Director-actor Srini’s most contemporary day time out retains his signature style and is a film that will remind the target market of actor Anant Nag’s earlier comedy motion pictures.

Solid: Srini, Sujay Shastry, Aditi Prabhudeva, Sudesh Nair, Aruna Balraj

Directed by: Srini

The film, which explores the urban heart-class lifestyles, is an intensive comedy entertainer that additionally has a profound message. The placement begins with a marginally of mythology — Krishna fights with Rukmini and ends up cursing Narada to lead a lifestyles on earth. The curse will discontinue for Narada most attention-grabbing if he finds look after and family acceptance. Sadly, Narada is born into a family that does no longer contemplate in look after marriages. He is even named Appanna (Srini) by his strict father (S Narayan) so as that girls deal with him as their father or brother. As Appanna grows up, he turns into Appu and works as an HR supervisor of a non-public firm. At the same time as his family begins buying for a prospective alliance, Appu will get attracted to Abhignya (Aditi Prabhudeva). Will he reach look after and marriage sums up Outmoded Monk.

The energy of this film is the dialogues, which will most definitely be silly and profound. The vivid lines are estimable of applause. Aruna Balraj, who performs Srini’s mother, is the film’s soul, and her dialog along with her husband on their 25th marriage ceremony anniversary is idea-provoking.

Srini’s unconventional account is of high merit and he definite will slouch a long plot as a director and actor. Sujay Shastry because the sidekick brings your entire silly relief, and his humorous one-liners are perfect. Aditi Prabhudeva presents a ancient and controlled efficiency and Sudesh Nair because the antagonist brings a charming twist.

Outmoded Monk is a appropriate entertainer, however no longer without its loopholes. The film breezes through with humorous dialogues, and although there are pacing factors in the second half of, all’s successfully that ends successfully.

Total, the film featuring a handful of veterans places you through some nostalgic moments, and delivers a appropriate mixture of comedy and drama

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Bheemla Nayak Movie Review: This Pawan Kalyan-Rana face-off guarantees fireworks

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Adapting a film to ’local sensibilities’ is a tricky process. It ought to either indicate filmmakers are generalising their viewers and defining their tastes, or merely, limiting their fashion. Movies adore Bheemla Nayak are paragons of this course of, which has no written rules or pointers. It additionally makes me wonder if no one is aware of their viewers better than Telugu filmmakers. They know tricks on how to plant highs and lows, tricks on how to maximise the smallest of the threads to evoke an emotional response.



Solid: Pawan Kalyan, Rana Daggubati, Nithya Menen, Samyuktha Menon


Directed by: Saagar Ample Chandra

This is the set up Bheemla Nayak, the remake of Ayyapanum Koshiyum, excels at. Though it’s miles largely faithful to the central conceit of the fashioned, Bheemla Nayak is bigger, fiercer, and massier. The battle is the identical, but it absolutely’s handled as a huge one. The characters are the identical too, but with regards to all of them are more aggressive–be it the constable who incites the battle or a villager who helps the titular persona. The precious scene in the fashioned keen Biju Menon casually strolling on a secluded boulevard sooner than kicking a man and destroying an unlawful constructing will get an unbelievable reimagination here; a straightforward one-on-one bodily altercation from the fashioned becomes a paunchy-fledged strive in opposition to to position up the intermission sequence and ends with precise fireworks. No wonder I had a ‘blast’ with this scene and the film in its entirety.

Trivikram Srinivas—who adapted Sachy’s screenplay—lets hasten of the verbose portions, whereas exalting the lead characters and largely maintaining the high emotional points. For the unversed, the memoir is about a snowballing confrontation between two men—Bheemla Nayak, an comely and bold cop (read: demigod) and Daniel Shekar, a young and fierce ex-protection power man. As in opposition to the 170-minute lengthy fashioned, the remake is barely 145 minutes lengthy and the probability to compose it racier does approach on the cost of persona pattern, ensuing in Daniel’s unsightly persona. Now not like Prithiviraj’s Koshi, Daniel is a largely one-dimensional person; he’s smug, smug, and smug. After pushing his opponent into deep agonize, Koshi takes out a moment to seem his actions and their skill repercussions. Daniel never ponders on his deeds on memoir of he is handled adore a brat, a mature one. If the title didn’t give it away, the film makes its inclination in opposition to Bheemla evident in every scene each and every the boys fraction the screen in.

No matter now not being a strive in opposition to between two equals, what works referring to the writing of Bheemla Nayak is the intention it strengthens more fantastic moments from the fashioned. One of my favourite moments in the film is Bheemla saving his enemy–who has fair betrayed him–from being lynched by a mob of his non-public of us. No longer only does it encapsulate the benefit of this persona, but it absolutely is additionally a excellent ‘fearless’ moment.

The writing, nonetheless, never intends to discover the intricacies of male ego and caste politics that had been touched in the fashioned. As an more than a couple of, it compensates for the dearth of, relate, ‘meaningfulness’ with a couple of honest mass moments for which we signed up in the first arena. I chanced on the premise to lengthen Bheemla’s backstory—fantastically shot adore a western—surprisingly resourceful, enraged by it’s now not one other showreel for Pawan, but there’s a belief to later utilise it to resolve the feud between the two men.

The performances too win the variation in the memoir’s medications. Now not like the restrained and nonchalant Biju Menon, Pawan is unhinged; his infuriate and kindness are more pronounced. When he learns that he has been betrayed by Daniel, he fumes in infuriate and the performance is entirely bodily. Rana does his finest with the arena cloth he is equipped with, but I wish we had seen him more carefully as a human and never more adore a stand-in for self-pleasure that he is relegated to. Nithya Menen’s Suguna, surprisingly will get about a memorable moments, and she or he brings a definite degree of warmness to Bheemla at any time when she is on screen. An stunning change between the husband and accomplice in opposition to the wreck is per chance belief to be one of many few lighter moments in the film.

Though Bheemla Nayak trades depth for whistles, it be a probability that does this film more true than damage. These moments, splendidly crafted with Ravi Ample Chandran’s sunny frames and S Thaman’s rousing background rating, every other time direct why Telugu cinema continues to be the true on the masala filmmaking entrance. They are easy, sure. Originate they non-public the backing of writing adore the sequences in Ayyapanum Koshiyum did? No longer in spite of everything. Yet, the punches–each and every bodily and vocal–land each time; Thaman is in spite of everything in his prime and continues his golden disappear with this film. Be it the aforementioned interval sequence or the La la Bheemla tune that follows, or the grand-hyped action sequence position in a hotel or the climax, Thaman pumps oxygen into these scenes. Even the quite easy climax or the generic produce-up in opposition to it are augmented by the background rating.

All acknowledged and completed, the umpteen probability of fantastic masala moments overpower Bheemla Nayak’s flaws and you tend to depart out humming ‘La la Bheemla’, adore I did.


 

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Upacharapoorvam Gunda Jayan Movie Review: A comedy of errors with simple aspirations

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Upacharapoorvam Gunda Jayan (UGJ) makes essentially the most efficient employ of a fart silly yarn which is employed factual as soon as and repeated, factual as soon as, at a marriage ceremony, without grossing us out. The discovery of the person guilty for it is miles the wonderful climactic twist. As I form this, I’m laughing interior whereas picturing the freeze-frame of the ‘culprit’ winking at us. I’m also chuckling at the visible of the embarrassed characters assumed to salvage carried out it. One persona’s ego gets harm within the task, right away triggering a fight interesting the marriage ceremony web site visitors. Now, that is the form of negate of affairs that Saiju Kurup’s Jayan turned into looking to preserve far off from. Making issues worse is the boundaries standing within the methodology of him taking a bathroom spoil. This predicament turns into piece of a routine bathroom silly yarn, also now not overdone. You would also teach that Jayan, a damaged-down thug, turned into as soon as figuratively stuffed with s***; now, he literally is.

Director: Arun Vaiga


Cast: Saiju Kurup, Siju Wilson, Shabareesh Varma, Johny Antony

Saiju Kurup delivers one in all his sophisticated performances. Jayan is diametrically opposite of his Arakkal Abu within the Aadu films. A prologue establishes the ferocity of the persona within the previous. Now Jayan is leading an customary household life with a doting accomplice. He has a mountainous day earlier than him. His niece is getting married, and he would now not favor one thing to head contaminated. The film repeatedly toys with the premise of pushing his buttons, and Saiju effectively conveys the pressures of a man who’s doing his simplest to be clear that that his interior ‘gunda‘ stays in retirement. Saiju also provides about a silly strokes to his sketch of Jayan, even in his most urgent moments. He’s what Kottayam Kunjachan would’ve been if he had been an introvert.

Particularly, for a film titled after the persona, UGJ provides a form of condo to its supporting characters too. After all, if one had been to spend the predominant leads, they would be Saiju, Siju Wilson and Shabareesh Varma. The wonderful two salvage valuable contributions to the narrative within the film’s latter half of. The charismatic Siju holds a ‘giant name’ presence amongst the total web site visitors. And Shabareesh looks to be carrying one thing heavy beneath his coy facade.

But till we bag to the beautiful revelations, the film spends its pre-interval hour getting us conscious of everyone else. One in every of them holds the predominant(s) — literally and figuratively — to the events that happen within the put up-interval segments. The film behaves enjoy a relative who takes you to a marriage ceremony and, as a change of plopping you in a chair and leaving you and not utilizing a acquainted faces for company, introduces you to every member contemporary there. A few of them are a chortle, others now not so worthy. But one can not imagine the film without the latter both. Perchance weeding out about a lines or a scene there would’ve improved the film.

These portions, the build nothing eventful happens, might per chance also salvage one inquire their relevance. I wasn’t bored because, unlike the contemporary Archana 31 Not Out, things spend up later in UGJ. I bag why the makers took their dangle time constructing the characters because as soon as the interval card appears, we now salvage a clear image of every visitor. We bag a girl-ogling NRI, a bread-and-rooster loving colonel, a cook dinner who prefers to work undisturbed, photographers with two varied schools of belief, and others. The time consumption makes sense whereas you seek these persona traits returning to bite them later, within the within the help of. The film introduces a second layer of persona trend, to mislead this time, as piece of an ‘undercover’ operation that results in silly results, which involves the abovementioned fart and bathroom jokes. Jaffer Idukki makes a smashing — literally and figuratively — cameo.

UGJ is the third film in contemporary memory to salvage a marriage ceremony scenario at its centre after Thinkalazhcha Nishchayam (TN) and Archana 31 Not Out. The finest smartly-liked aspect in these films is a young lady with second thoughts about her impending marriage ceremony. But all three films fluctuate with appreciate to their narrative scope, milieu, characters, subtextual and dramatic depth. The goal of all three films is now not the an identical. But UGJ has extra in smartly-liked with TN in that they each focal point on a single day’s event. Cinematographer Eldho Isaac retains things minimal and demonstrates that even an customary marriage ceremony can peep factual on show mask without resorting to the same old cliches.

Director Arun Vaiga puts his marriage ceremony pictures background to factual employ in UGJ. He mines some first rate jokes out of the opponents between ‘international’ and ‘native’ photographers. The film would now not goal very high, and or now not it is miles now not traditional fabric. It looks to be philosophize material with straightforward dreams. Nonetheless, I cannot whinge because I had a factual time.

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