Ponman

This is one of those films that make me appreciate it more and more as I think about it. Films related to issues surrounding dowry are nothing new in Malayalam cinema but the honesty, subtlety, and nuance this movie showed is truly outstanding. Initially, I was surprised to learn that the novella this is based on was named 4-5 Cheruppakkar, because if it is about dowry, why is the name talking about young men like that? But the movie really showed why it is, even though it's more about two men and a woman. The way the so-called culture of patriarchy that is so ingrained in society makes the evils of such a system a question of survival for the working-class people has never been portrayed with such honesty. All three main characters are incredibly written and performed. Even when Sajin Gopu's "villain" character is clearly doing something wrong, we are made to understand why a person who is proud of his hard work is resorting to it and also paints a picture of why he's living as an intimidating character to everyone.

Basil Joseph has been having great success as an actor in the last few years but this is one of his best performances. Ajesh's self-confidence is his desperation for survival, and however weird people may find it, this is the kind of character I always wanted to become. Have conviction in your decisions and go to any lengths for it even if everything looks impossible. The way he's able to stand tall in front of both physical and emotional blackmail and yet show enough empathy and sympathy where it counts makes it impossible to not root for the character after a point.

I loved how it ended with such half-direct dialogues where the implications were clear and yet was able to maintain the mood and style of the film.

Let's start with the positive aspects of the film. In terms of performances, everyone delivered a solid act, especially Basil and Sajin Gopu. Anand, who played the character of Bruno, and Sandhya Rajendran, who played the mother, also stood out with their performances. Another highlight was Justin Varghese's music, which I personally enjoyed.

Speaking about the story, the film is based on Indugopan's novel Nalanju Cheruppakkar, and for a debut directorial attempt by Jyothish Shankar, it has been executed quite well.

Now, if there are positives, there will naturally be some negatives too. When adapting a novel into a film, certain cinematic elements need to be added to enhance the experience. However, this film feels like an exact translation of the novel, which is why the second half felt a bit underwhelming. As an audience, we expect certain developments, but they never materialize.

For example, the conflict between Basil and Sajin Gopu's characters regarding Ponnu was left unresolved. Another instance is the mention of Thalavettichira, which initially created fear and intrigue but ultimately amounted to nothing. These elements, if developed better, could have elevated the film.

The climax, too, could have used a bit more intensity and depth. If some additional dramatic elements were included, the film could have been a perfect package.

That being said, it's still worth a watch. These are purely my personal opinions, and others may have a different perspective.

Oh my goodness, "Ponman" is a movie where I wished it would end sooner-not as a negative critique, but as a testament to how deeply I rooted for PP Ajesh to catch a breath, even for a moment. This character, played by Basil Joseph, who is a hot mess in this film, and his struggles are so palpable that you can't help but feel for him.

Director Jothish Shankar, in his debut, has managed to craft an exceptional adaptation of GR Indugopan's novel Naalancheru Cheppuvaakkaar (Four-Five Young Men). He presents a murky character study of individuals who are neither black nor white but exist in shades of gray, and "Ponman" embodies this complexity beautifully. The film also offers a vivid portrayal of the Lenten season celebration, the Latin Catholic community, and the unique biosphere of Thalavettichira Island, adding layers of cultural richness to the narrative.

The supporting cast is just as fabulous. Lijomol Jose, as Steffi, plays the bride who yearns for gold, raised by her widowed mother (Sandhya Rajendran). Sandhya's character has an intriguing arc that goes beyond pleading and sobbing for some time extensions to repay Ajesh. Then there's Mariano, played by Sajin Gopu, whom audiences might recognize from "Aavesham" as the Amban character. In "Aavesham," he was a villain you loved to hate but secretly wanted to shake hands with; in "Ponman," he's someone you'd want to stay at least 10 feet away from-especially his shrimp farm.

Another decent performance is given by the character Bruno, Steffi's brother. A shout-out also goes to that quirky friend-in-need who steals every scene with his antics. He's the kind of character who feels like a savior, and you'll understand why when you watch the film.

But the showstopper, of course, is Basil Joseph. I've always known Basil to be a talented dramatic actor, but this is undoubtedly his best work yet. The constant escalation of absurd comedy, particularly during the drinking scenes, and the mounting tension and stakes are almost nauseating. Watching Ajesh's life spiral into chaos is mesmerizing, and Basil embodies the role flawlessly. His physicality, accent, and delivery are impeccable, leaving you absolutely entranced.

Overall, "Ponman" is an extremely worthwhile tour de force that gives neither the characters nor the audience a moment of peace. One moment, you're laughing; the next, you're gripped with anxiety. The director and the technical team have poured their hearts into weaving together a chaotic yet heartwarming-and bittersweet-story. You'll understand the bittersweetness by the end of the film.

After a pretty long while, I got to see the kind of Malayalam cinema that's very rooted to its region (Kollam, in this case). The lead characters (Basil as gold dealer PP Ajesh, Lijo Mol Jose as the bride Steffi Graf, Sajin Gopu as the groom Mariyano, and Anand Manmadhan as the bride's brother Bruno) are all established in a slow-and-steady fashion. One thing leads to another, and gold needs to be arranged (as dowry) for a wedding. Yes, we're talking about "progressive", "modernist", and "100% literate" Kerala. The transactional nature of weddings still prevails in several parts of the state (if that's unbeknownst to many), with the brides often having no say in the actual event.. and that also includes the choice of accepting or rejecting a groom. There have been several films set in this story backdrop, but what makes Ponman unique is its approach, its locations, and most significantly, the shades attributed to its leads.

Ajesh is such an interesting protagonist, and the way the screenplay moulds him into someone who's willing to take risks and go any lengths to get his job done, is spectacular. This is one role where I felt Basil Joseph's acting chops were put to excellent use, as the character is one that evolves, and the arc is justified. He isn't the invincible hero; heck if you tell me prior to watching the film that there are physical altercations between the slender Ajesh and the hulking Mariyano with the former coming out on top, I would immediately be exclaiming "NO WAY!". Not only does the film deliver splendily in that regard, but what's even more interesting is how the writing builds to this particular boiling point.

In most movies that involve dowries, the leading lady is often relegated to someone who sits in a corner and cries the whole time. But Steffi is written (and performed) in a very candid, very responsive manner. The dialogues spoken by her and Ajesh are concentrated and carry a lot of depth, making their scenes memorable. Their deliciously first-rate performances also make it worth your while. DoP Sanu John Varghese returns to Malayalam after Malik and Ariyippu with a bang-those night shots against the Kollam backwaters look absolutely brilliant. The way he captures a muddy fight sequence between Ajesh and Mariyano is also incredible. Justin Varghese comes up with a soundtrack that seamlessly blends in with the locations, the characters, and their dire circumstances. I have not read Nalanchu cheruppakkar by G. R. Indugopan, but my gut says that director (and production designer) Jothish Shankar did great justice to the source material. Also, the subtle underlining of dank humour in several scenes (special mention goes to Deepak Parambol as Jesus, in two different scenes) REALLY worked for me.

On the downside, even at 2 hours, the first half can come across as slightly draggy (i.e. Until the core conflict emerges) because the film is super-focused on laying out its key characters and their somewhat familiar dilemmas. This, however, gets solid payoffs in the second half, making the overall experience a good one!

Emotional family drama portrayed through brilliant screenplay and exceptional performances.

The plot of the story revolves around the Gold dowry system prevailing in the marriage institution set on the backdrop of a coastal town in Kollam and how a Gold broker gets entangled in an emotional and survival protest among two families forms the crux of the story.

Speaking about the story, the film is based on Indu Gopan's novel Nalanju Cheruppakkar, and for a debut directorial attempt by Jyothish Shankar, it has been executed quite well. Collectively Good Performance from all the actors ! Strong roles for both Sajin Gopu & Lijo mol Jose.