Godha ft. Captain and Aditi


Gosh! I have lost count of the number of aerial shots and locks in Basil Joseph’s “Godha” ft. Captain and co. The film is an entertaining wrestling drama with a heartfelt romantic angle.

In fact, Godha-Dangal is a far-fetched comparison and where the former is a fiction, the latter is ahem.

The Plot: Punjabi girl Aditi (Wamiqa Gabbi) from a wrestling background travels to the land of Anganeya Das (Tovino Thomas) situated in malabar. Godha is a story of ingrained passion, of how Aditi gains newfound freedom not weight. Another key player in Godha is Captain (Ranji Panicker); father to the maverick Das, husband to a badgering wife, looking to redeem glory in this life or the next. Quid Pro Quo with pro wrestling? Not a bad bet at all!

There is fun to be had inside the ringside/ Godha. The butt of the jokes occur when young Aditi prostrates Balan to sawdust in a DiCaprio moment (നിലത്തു പോസ്റ്റായി എന്ന് സാരം).

“That is a cool bit of farcial comedy” said a friend sitting besides me watching the onlaught, poker faced. Where Godha succeeds, it instills our faith in a sport this side of Cricket. The “somersault wrestling” gets very little attention in stark comparison to other brainchilds in the country. Basil makes passion clear right off as Captain swarms a land, which he wants to land possession.

Not here to spoil the fun. I absolutely loved Godha barring a few reservations of pseudo kind.

On account of, if this was real life, Anganeya Das would long for the return of Phogat and the national flag. Godspeed Basil and team.

P.S. ആരാ അപ്പുറത്? നമ്പൂതിരി കുട്ടികളെ അന്വേഷിക്കുന്നല്ലോ. പോടാ അടുത്തുള്ള വല്ല മനയിലും അന്വേഷിക്ക്. ഭരതൻ SI ഉറങ്ങാൻ പോവുകയാണ് !!!

കേസ് അന്വേഷണം അമേരിക്കയിലാണ് !

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Akashavani, Thiruvanathapuram, Thrissur.

If you are an international moviegoer wondering where the movie had fantastic casting, excellent script, paisa vasool cliche has gone missing – Comrade In America.

50 Cent + 50 Cent = $1 which you can spend on the dollar store. Aji comrade gave $4000 to sneak through AMERICA with a CHINESE guy for LOVE. Sci-fi movie meet vignette meet road movie is Comrade In America? You bet!

So it goes in life imitates art, even beauty with magnetic eyes tail the communist lover in Om Santi Osana. Pseudo Loves ’em both as well as Salala Mobiles and Top Sung Bong.


ഓം ശുക്ലാം ഭരതരം വിഷ്ണും. ടൂം ടൂം ടൂം ടൂം പേ പേ പേ.. ടൂം ടൂം ടൂം ടൂം പേ പേ പേ.

Comrade Theme is cool.

The Plot: Amal Neerad’s CIA features Dulquer Salman as Ajippa, a firebrand comrade who travels to America via Mexico to regain posession of lost love. Possession is nine-tenths of the law.

What drives Comrade forward is idelogies. CIA has cross border fist fights amid blue skies, vast sea, red soil. The highlight of the movie features a drunk comrade talking communist delusions to Che, Lenin and Karl Marx. Love in America? Double Tap!

It is quite the sublte setup which Amal Neerad adopts early on in the film, leading to the SOBER comrade who help people on the way to America. There. Rub your hands for the byheart verdict, wherein Pseudo Says..

Comrade In America is enjoyable as a vignette on the road, and Neerad’s exquisite handling of the visual is loved by one and all.

Samir Tahir’s Neelakasham Pachakkadal Chuvanna Bhoomi ended a dearth of road movies in Malayalam. This is in parts a road movie cum vignette, in addition to everything above, as well as a political commentary on the lost grounds of communism.

Is there a plot this time around? Er.

For a road movie – How many kilometers from washington DC to Miami Beach? – more so for a vignette, plot is inconsequential for the lovable rascals. Pseudo included.

Consequentially pseudo dreams of a secular showbiz wherein filmmakers would stop pandering one particular star to the audience. Were he to fight 10 men at once, and deploy one-liners – Cartier My New Watch – is cold kalippu. I love Dulquer playing characters too such as Charlie, Ajippa, and Aju Comrade. Loves the Ajippa in Comrade, not the Dulquer in Comrade.

“Manoj Sir you were an old KSU in Maharajas College, right? The bare knuckle fights of SFI people there is NOT THE LAST WORD.”

To reierate things, I liked Comrade In America as a vignette. Further, there is no grammar in America. ഇത് സർ സിപി യുടെ പുതിയ ലിപി: തോന്നിവാസം.

Four Prong Army Meet Marvels!

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Tamed or untamed, there is no stopping S S Rajamouli’s imagination. In fact, Baahubali 2: The Conclusion banks heavily on his craft than the hoity-toity script which reminds me the four prong army (Bhimsen) and Marvels.

It is a movie of epic proportions, always enchanting to look at and submit to but one that falls short on the initial promise. Just describing because I loved the first film, this one too, and hate facebook trolls. The central conflict of Baahubali 2 is the #Why Did Kattappa Kill Baahubali.

Our audience has pushed that question to the loft, so much so the goings-on in Baahubali The Conclusion makes seem both Katta and Baahu exist in real!

Does it matter in Rajamouli’s craft, ultimately?

Not to the extent with which he creates a commotion of bulls, firey horns; a flying ship of The Theif of Bagdad technicolor; and a rousing finale featuring Prabhas and Rana Daggubbati at loggerheads, trying to become heir apparent Mahishmati.

The Plot: Upon Mahishmati’s arrival, a rift is formed between Sivagami’s two sons. Baahubali 2 The Conclusion is derived from myth, entwined by rousing set pieces, and bolstered by three or four central performances.

Be prepared to be spellbound for 2. 40 hours, virtually glued to your seats. There is Anushka Shetty playing the younger version of Devasena, a bombshell and the princess of the Kuntala kingdom.

Oddly enough, Devasena is a feminist too who learns how to send “Divyasthra” aka two-in-one shot. Suspension of disbelief would ouster the ridicule of Amerandra Baahubali teaching Devasena bow tricks, amidst a dogfight with the indigenous people of Kuntala. Their language was odd in the last film, here their role is limited to being flesh-food-to-the-sword.

You certainly would have some quibbles regarding the characterization in Conclusion. SOK. The stock villain played by Nasser is the old dog of the lot, and yet least interesting. The Rana Daggubati character is both scary and winsome. Goodness me! Ramya Krishnan is dressed in all reds throughout Baahubali 2 The Conclusion; Won’t Mahishmati have a pair of clothes for goddess Sivagami? Or, is it that she was too busy caring the kingdom, Kattappa among others?


This treason story, the template of which, is famous among Bhasa and his sanksrit play. The highlight is certainly Prabhas who has got great flexibility. His Baahubali flies, leapfrogs giant walls, does all the things which ancient warriors do. Thank goodness he has got the name stamped on this fantastical tale, even as the rubber stamp belongs to SSR.

P.S. WKKBB? Shaayad Andhere Mein Galti Se Mistake Ho Gaya. (At Darkness, Kattappa may have mistaken Baahubali standing on a vantage point to a giant elephant.)

It happens. Now that the movie has raked in crores of rupees, we shall move on. The Beginning was my favorite of the two. Eecha is better than the Baahubali duology. This puts Rajamouli on the map. Every world knows that; the whole world knows that (Nick Fury).

Baiju is a close to life Utopia

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Pay heed. The latest entrant in the cricket frantic moviedom of Kerala is “Rakshadhikari Baiju.” Biju Menon plays a quintessential family guy, having a government job, and overseeing local cricket in a coconut yard. The kind of place where livestocks are fed otherwise, is where all the commotion takes place in this bittersweet film.

In the world of Kumbalam cricket club; kumbalans swarm livestock to form relationships. Baiju’s all-encompassing feeling toward the coastal people and children especially is a heartfelt subtext. Couple of his friends have their eyes set on bombshells, a narrative that is somewhat discordant but cool. An uncle played by Janardhanan acts all bonkers following years of seclusion; others around him have seen it all.

Enough said. Rakshadhikari Baiju attempts a terrific semblance of stark reality; call it ironic but the coastal area is one folorn place to be in.

Gasp-a-minute! Not all real lives could be oh-so entertainments, much of this Doordarshan favorite is bogged down by self-indulgence. I could hear the Palakkadan slang of Menon eavesdropping – ഓ – thespian clarity of portrayal is entertainment par excellence. I was hapless in parts because these people belong to a generation which is hardly relatable to the fool writing this blog (Shekhar). Not that the movie is a downer in terms of entertainment; there are chuckles along the way to the wisdom.


The conceptual village in Kerala is waning; the cricket on IPL is trending; Baiju dons the cap of an announcer to lure in Kumbalans?

Sigh. Like the touts flogging tickets, they have to do the hardest job to protect cricketainment and people concerned. In the process memory of an old song remains came harking back: “നാളികേരത്തിന്റെ നാട്ടിൽ എനിക്കൊരു….”

One of the characters go to gulf.

Only to travel back and see the protector.

Boy, do we need him now!

P.S. Donno whether you would agree but “whole world conspires” is a whammy as far as I am corcerned. I am all for the ending of Baiju. Some rofl humor would have been even better going by this pied piper’s preferred text.

P.S. Arbitrary Rating = 3 out of 5.

Nolan’s Faith in the Audience Restored


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A Study in Slack-Jawed Stupefaction
prasu.sreeju |Nov 07, 2014 11:49 PM

The spinning totem in Inception; A ticking watch in Interstellar. Chris Nolan has an uncanny knack for conveying the labyrinth, through clever little objects, that might even go unnoticed throughout! Such objects are of vital importance to his new film Interstellar; the plot of which is manipulated to the hilt in return for stupefy!

Regarding the genius of Nolan Matthew McConaughey said something evocative once in an interview – “He’s not a staid perfectionist. He won’t indulge in retakes unless he feels its completely necessary.”

It is amazing to see how much information Nolan crammed into this sci-fi material with his brother Jonathan sharing the writing credits. Wormholes, Blackholes, Time travel, Exploration, Doomsday. The result is a ghee-whiz wonder in space, that works like more of a mind dance the second time you see it. Think of 2001: A Space Odyssey by Stanley Kubrick, one of Nolan’s touchstones for the technical aspects of Interstellar.

Partly inspired by Kubrick, Interstellar is about a team of explorers who partake in a voyage to galaxies beyond when a devastating dystopia is heralded by dying crops, and storms. This is the kind of world where farmers are greatly regarded than scientists, and engineers. Cooper played by Matt MaCcnoughey is one such farmer/ Ex-NASA pilot, the widowed father of Murph and Tom his two kids. When Murph indicates his father of a supernatural presence in her room, Cooper identifies it as a gravitational anomaly which is causing the blights to occur, and the storms.

“When we were kids we used to look up and wonder about our place in the stars. Now we look downwards and worry about our place in the dirt.”

The anomaly serves Murph and Cooper with some coordinates that leads to a hidden NASA camp, where Cooper meets Professor Brand: his former professor cum NASA head, who plans to evacuate earth if not save it. Brand’s outlandish plans centers around the “Endurance” spaceship that fully exploits the infinite potentials of an interstellar travel, with Cooper piloting the mission.

“Only you can get us there Coop. Nobody else has even left the simulator” Quips Dr. Brand. What follows is a sci-fi epic that questions our faith, our intellect and at times even our concentration.

For Cooper, Amelia, TARS and CASE finding new inhabitable planets is no mean task like “E.T Phone Home” mainly because getting there is a leap for humanity. The VFX team of this movie lead by cinematographer Hoyte Van Hoytema has crafted some astounding visuals which illustrates the enigma and the vastness of outer space. So brace yourself for a massive tidal wave which the astronauts somehow manage to evade. A “docking scene” which leaves them, and the audience in a state of stupefaction. A gravitational pull near Gargantua the super-massive Blackhole which causes ridiculous delays in time – 1 Hr in space equals to 7 Years on earth. The magical moment in Sci-Fi genre where Cooper’s replies “It’s necessary” to a rhetorical – “Is it even humanly possible?” by TARS.

Hours of blitzkrieg has some light comic touches too that when TARS get up close and personal with Cooper, the father-daughter bits are full of emotion. As the movie motors along to reach its so-called nonsensical climax, we see its protagonist grapple with what looks like a five-dimensional universe where TIME can be manipulated like a physical object! Its nerdy science fiction. Maybe its in this reference Albert Einstein once quoted – “Genius is the ability to see 10 things, where mere mortals could see only one.”

As I see it, or as Nolan would have it, there maybe even a sixth dimension called “Leap of Faith” and a seventh “Suspension of Disbelief.”

A Comrade on Fire!

“നാലുചുവരിനും, മനുഷ്യഹൃദയങ്ങൾക്കും ഉള്ളിലാണ് യഥാർത്ഥ കമ്മ്യൂണിസം.”

ആശയം കൊള്ളാം

Doctrine of communism emerge within four walls, the hearts of those who are human. Sakhavu is a deeply political film set against a poignant past, the beginning of communism in Kerala. Parasuram had not wielded a hatchet to spring this red tirade which hath bequeathed unto. There is a rich history which dates back to the days of comrade Krishnanpilla: A left right movement was once featured in Dandi March.

Sidharth Siva is concerned with the Marxism origin, hence lassoing Nivin Pauly in three different getup made sense. Sakhavu began when comrade Kichu, Nivin sporting red whites and a beard, is all haste to succeed in politricks. Kichu looks in the mirror, when an erstwhile cop says he resembles real life comrade Krishnanpilla; the projection of his is no reincarnation subtext, but a leader’s premonition. What forms the story are the elementary things that occur in Kichu’s life in a hospital (next to me) doubling back to a period drama.

There is plenty of heavy lifting in Nivin Pauly’s performance and to be fair what resonates is his novelty, something which separates the ordinary JOE to the Leader. POW.

That is part of what sums this film up; at equal young comrade makes us wonder what has happened to contemporary communism, even as we are left with “follow me men” kindred spirits. Siva recycles a fascinating sight of people sing “Inquilaab Zindabad” against acres of landscape in Peerumedu — more than activism there is a stoicism true to its calling.

Backstabbing forms part of a one-note narration which kicks in much later in the film. The songs are kept to just one teaming Aiswarya Rajeesh and Nivin Pauly as Mr and Mrs Comrade.

Having survived the onslaught for 2.40 hours and just when we had felt Sakhavu ended on a high note; there was an outtake which is overdone. You see communism goes with the saying a comrade couldn’t help but espouse hard core political beliefs; cinematic outtakes borders on utopian. That fascination aside (just describing) methinks this is simply stick-to-ribs filmmaking which reminds us in politics more is less.

P.S. Dad is a fan of Achutha Menon and EMS Nambothirippad whose books, 10 of them, adorn the shelf of our home. I used to ask mom how much do those books cost and in reply, she smile.

“All looks identical in thickness, color and lands open in the same page ah?”

(An illustration kept precisely in place just so dad could recite the doctrines.)

“I do not get communism, dear. He has read all of that to get skin deep into a man than the leader.”

“Do you know EMS, who he was?”

“Any relation to our Namboothiri Clan?”

“Nope. He was a former CM of Kerala; big enough and powerful enough for dad to spend 10, 000 INR on books alone.”

Take Off is close to reality

In 2014, just as Modi government took over the reigns, we got a situation wherein the Indian embassy had to pull off a nigh-impossible rescue. With Take Off the movie things couldn’t have been no less different for the average moviegoer of Kerala. With realpolitik you are bound to get view points, but I was amazed by which how non-judgmental is “Take Off”. The movie is filled with gruesome imagery, understated performances and what have you.

The story of Sameera, Shaheed and Manoj takes place on the fringes of a once war-ridden Tikrit (Iraq) where ISIS rebels have swarmed the deserted colony with men on arms. Kunjakko’s Shaheed is the only reprieve on occassions for the audience to fall back on, for the whole movie is a shocker.

“It did. But is a spellbound.”

Said a friend who was getting ready to take off from his seat and go back to the cozy confines, his home. Not until Manoj (Fahad Fazzil again no performance from him) gets in on the riot act and set things straight do we even get a solution. This movie. Take Off. It is one of those Argo “eff yourselves” lookalike proceedural with a gulf separating Terrorist and Men.

Back home, would have loved to show Take Off to my mom who served as a Nurse for 20 years in Thrissur, rarely on occassion for the private hospital Ashwini. She would make a face and gag about how her white coat used to catch stains easily, and look at Sameera in stark contrast. Fans would remember the last time they saw Parvathy in Ennu Ninde Moytheen too, on house arrest and vying to cross the river.

There is no river in the deserts of Tikrit. Political thriller; nervous wreck. Mid marriage paternal crisis break all hell lose. We get the peaceful scenes back in Kerala before the action jangles to Iraq and its imminent danger i.e., the impact crator. The film is shot on locations and the takeaway is pretty simple. No such thing called fun when bombs comes flying from a distance, even as one is unsure how Manoj acts on premonition. He could, maybe because realpolitik owes a lot to its own structural disparities.

On a lighter note, Take Off reminded me of an old Russell Peters reimagining of the Bush invasion of Iraq:

“We are going to come there and we are going to attack you.” (President’s face turn smug.)

And, then came a masterful thought which got the crowd abuzz.

“All they are showing you of the arab world are the rednecks of the Arab world.”

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