Director: Vinayan
Forged: Chemban Vinod Jose, Siju Wilson, Sudev Nair, Poonam Bajwa
Director Vinayan’s new enterprise is titled reasonably nobly, referring to the time interval it’s set in, when it may have so simply opted for a personality’s title. The movie’s major cinematic liberty – and the story’s conceit – is that of bringing collectively three completely different historic figures who had been lively throughout that (titular) interval in Kerala, to weave a fictional chronicle of resistance. It’s completely not a stretch to be reminded of RRR by this What If-like idea.
The voiceover narration begins with Mohanlal and ends with Mammootty, lending modern significance to a pop-culture venture that’s attempting to doc the historical past of its area. Nangeli, Kayamkulam Kochunni and Arattupuzha Velayudha Panicker are personalities who’ve permeated public consciousness by way of historic accounts and widespread tradition. This specific movie makes use of Velayudha Panicker as the first anchor so as to add dramatic context to the acquainted story of Nangeli. The previous thus turns into the “hero” of the movie and a mentor determine to the latter, who’s the one character with a semblance of an arc in an in any other case flat, one-dimensional group of characters.
This one-dimensional nature isn’t an issue with the antagonists, for the depravity of their crimes is sufficient to lend weight to them as characters. But it surely’s the protagonist Velayudha Panicker’s uninspiring journey as a personality that stops the movie from being as affecting accurately. There’s barely any pressure felt in his very first occasion of revolt. It’s a traditional setting for the ‘unlikely hero’ trope to pack its punches. However the issue right here is the dearth of focus within the feelings that precede his actions. There’s extra effort in elevating his bodily punches with stylistic slow-motion than giving a way of who he’s as an individual.
The very subsequent sequence contains a vital time leap, and he’s now a widely known messiah with a peculiar “look”. This reveal of a metamorphosis may’ve been a very good occasion to make use of slow-mo, however it performs out in a particularly matter-of-fact method. It’s fairly bothersome {that a} movie so obsessive about “elevation” in its struggle scenes, doesn’t know when to prop up the hero as a lot because it successfully props up villainy.
The motion set-pieces – there are a number of them – don’t have anything past their location to distinguish one from one other, and get numbing with the overuse of painfully monotonous slow-motion. The movie doesn’t maintain or earn curiosity regardless of being commendably targeted all through the narrative, apart from the one weakly conceived music on the king’s palace.
Siju Wilson as Panicker has the body, the construct and the gaze of a noble warrior, and is sort of an inspiring casting alternative. However the writing barely serves his efforts, preserving him as a mere “determine” all through the screenplay, the place he ought to ideally register as his personal particular person. The one second the place he has to reverse a choice he’s made prior to now – to not perform a mission for the king – is embarrassingly robotic in each writing and execution. Firstly, there’s not even a line or pause given to register a change of coronary heart. It’s a completely sensible resolution to make, sure, however I’d nonetheless wish to get a way of his inner dilemma, even when it’s for a fleeting second. So, there’s your lack of emotional logic within the writing. Secondly, there’s not even a close-up for this character-defining beat. Now that’s a woe of the execution.
The presence of Kayamkulam Kochunni, although rendered animatedly by Chemban Vinod Jose, finally ends up trying like an nearly insignificant addition to this narrative. His character has no emotional bearing within the story, and is diminished to a mere plot system. The movie additionally comes throughout as judgmental in the direction of him regardless of talking of his Robin Hood-esque efforts.
Newcomer Kayadu Lohar essays Nangeli with spirit, however the movie’s sensibilities are too dated for the character to encourage intrigue past what’s being informed on display screen. I always wished the narrative had been truly centered round her and the journey in the direction of her tragic finish. That is actually her story. Her arc has milestones, a mentor determine, and its personal subplot too, with the one exposing how patriarchy functioned inside oppressor caste circles. The substances for a compelling central character are all in there, however placing the male determine’s generic story on the focus finally ends up trying like a fully lackluster alternative.
Velayudha Panicker’s well-timed entry at moments of peril looks like a cinematic liberty, however his absence is certainly felt within the climactic sequence, and that is the one place the place the character registers real emotional impression. Indrans makes a final second look so as to add weight to the drama, and he undeniably does, although this barely seems like an inexpensive manipulative trick deployed by the makers. The gore within the climax additionally feels extreme regardless of the blurring, and I’d go on to say it’s lowkey unearned for the way in which the movie treats a personality till that time. It’s disappointing when such a culturally vital and emotional story finally ends up inciting such a cynical response.
The Aristocracy and intention can, at occasions, make for an efficient movie (particularly if the craft offers one thing to takeaway), however Pathonpatham Noottandu just isn’t it. The dryness throughout the board right here makes the movie learn like emotionless anecdotes from a historical past textbook, with barely any use of the feel that the medium of cinema can convey.