The shooting commenced from today and the whole team is actively participating in making.
NJANDUKALUDE NATTIL ORIDAVELA TRAILER MOVIE
It’s about using your clout to get a certain kind of movie made.Premam star and Mallu wood raising hero Nivin Pauly next film got interesting title Njandukalude Nattil Oridavela. This definition of star power we find only in the young stars of Malayalam cinema. But like Fahadh Faasil in Thondimuthalum Driksakshiyum, he puts himself in service of the story. The aThe strain of sculpting each scene differently does show sometimes - not all the punches land - but I am not going to hold ambition against a filmmaker who gets so much so right.Īnd what about the star? Nivin Pauly (who seems to have an amazing nose for scripts) does get a heroine (Aishwarya Lekshmi) in a track that could have been better, and he does get a fourth-wall-breaking moment where he references his biggest hit, Premam. The scene with a car that won’t start, a superb bit of misdirection when it’s repeated later. The scene where the doctor becomes part of a Chacko-family celebration - we don’t even get a line from him, just a passing shot that reminds us of how strangers, especially those we meet during a crisis, can become family.
The stretch where an uncharacteristic burst of self-pity is countered with a reminder that others have their own problems. Njandukalude Nattil Oridavela gives us scene after brilliantly written scene. Another film would have given us pillow fights.ĪLSO READ: BARADWAJ RANGAN'S REVIEW OF PULLIKKARAN STARAA The nothingness in this conversation is enough to define the closeness of these siblings. It’s just banter, as opposed to the dialogue we get in other films, which is always about something.
A discussion in an early scene between the siblings hovers on topics like dowry and Kurien’s weight (a refreshingly self-aware touch from producer Pauly, who does look heavier) without landing on anything. Or rather, we should say the ordinary becomes extraordinary. We laugh with them, tear up with them (Kurien's recollection of his mother’s bravery in Kuwait left me puddle-eyed) - not because they face an extraordinary situation but because they go through it so ordinarily. And, course, the children: Mary (Srinda Arhaan), Sarah (Ahaana Krishna) and the London-returned Kurien (Nivin Pauly).ĪLSO READ: BARADWAJ RANGAN'S REVIEW OF ADAM JOANĮven the minor characters - like Sarah’s boyfriend who faces Kurien with amusing amounts of confidence, or even the recurring packets of junk food - are marvellous. The best friend (Krishna Shankar), who seems as married to his supermarket as to his sharp-tongued wife. The brother-in-law (Siju Wilson) whose stinginess is made fun of, but never cruelly. The mother (Shanthi Krishna, a beacon of poise, calm and collected even when her world turns upside down) who wants to go home in the middle of a movie. The cowardly father (Lal) who speaks in outrageously funny metaphors. The characters are vivid, the performances wonderfully warm. It’s not just the connections between the people on screen - we feel related to them. I haven’t seen a film in a while that gave us such a strong sense of family. A video recording of you during the movie will show you smiling a lot.
The tone isn’t haha (though there are many laugh-out-loud moments). We do get scenes in hospitals and scenes featuring the dismaying after-effects of treatment, but the defining mood is that of the stretch where a doctor (Saiju Kurup) is asked to please leave the office - his own office - so the family gathered there can sort things out. He takes a scary disease, the fount of a thousand on-screen tragedies, and makes a film that’s - there’s no other word for it - wholesome. That’s the film in a nutshell, and director Althaf Salim’s achievement is in not crossing the boundaries of good taste.
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