Malayalam cinema

  • Rani Padmini

    Rani Padmini

    Of the urge to break free   There comes a time in every girl’s imagination when what she’d want above all is to throw a few things in a bag and hit the road all by herself. Now, this may not sound like the sanest thing to do, but...
  • Pathemari

    Pathemari

    Homage to the stoic toilers in the Gulf   Most every Malayali has had a whiff of the highly-perfumed Gulf-returnee or at least has heard tales of it. Pathemari presents a glimpse of the other side: the hardships and mental struggles of those who went to make something for...
  • Ennu Ninte Moideen

    Ennu Ninte Moideen

    Perfectionism can be quite a nice trait to possess; except that it runs the danger of being a little expensive. Especially in filmmaking, an art form in which time is money and paying attention to a wide range of details is a requisite. Ennu Ninte Moideen (Yours, Moideen), reportedly,...
  • China Town

    Wannabe writers often ask me, ‘What is the best method to protect one’s script?’ There’s no foolproof way to do it, anywhere in the world, I tell them, frankly. Further, registration with a writer’s association isn’t going help at all. Look at China Town, for example; the second half...
  • Doubles

    Some years ago, I had strongly raised an important point: that it is high time that the censor board in India introduced a PG-12 (Parental Guidance for children under 12) classification. I wonder how the mothers and their little ones, at the Doubles screening, reacted to the surprise inclusion...
  • Maharaja Talkies

    The director’s baton is not a toy; before wielding it for the first time, one is required to learn, at least, the basic theories, and spend quality time gathering some amount of practical knowledge. Maharaja Talkies, with a premise of immense potential, fails miserably, chiefly because the plot and...
  • City of God

    Mainstream Indian filmmakers are generally “inspired” by the premises and plots of foreign-language films. Lijo Pellissery doesn’t flick any story; he just tries, very hard and unsuccessfully, to replicate the stylization and treatment of the original City of God. Handheld cameras are used throughout. The film opens with a...
  • Annayum Rasoolum (Anna and Rasool)

    The neorealist school of filmmaking when it came into existence advocated for a particular reason the use of a deep focus lens: it allowed reality to pervade every micro-inch of the screen. Annayum Rasoolum follows none of the laid-down rules, but strives nevertheless to be real, and only partially...
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