MT's stories have stood the test of time, enough to warrant an entire episodic series in 2024 featuring a star-studded cast. However, these stories are also for an audience who are fans of his literary works, regardless of whether all of them hold cinematic value or not. In Manorathangal, we get nine different stories in the form of featurettes. The following is an individual breakdown (based on what I've watched so far, in whatever order-will be updating slowly):
- Olavum Theeravum: Directed by Priyadarshan and starring Mohanlal and Durga Krishna, this one has an age-old plot that already got a cinematic adaptation in 1970. In this rendition, more than the plot or the performances, it's Santosh Sivan's cinematography that stands out. Mohanlal and Durga Krishna are alright, but there isn't much here that elevates it to the status of an exceptional black-and-white throwback. (2.5/5)
- Kadugannawa, Oru Yathra Kurippu: Even when we get Mammootty in the lead role, Ranjith's version of this story lacks the emotional intrigue that you generally associate the filmmaker with, especially when he tackles slow-paced drama. Vineeth's performance is the key highlight here. (2/5)
- Kazhcha: Shyamaprasad is one of the finest directors in Malayalam who can handle minimalist drama yet still keep you hooked. I really enjoyed the story of Sudha (a fantastic Parvathy Thiruvothu) and how she dealt with a situation that was, in those times, considered taboo. In today's times, the story finds less relevance, but once again, Shyamaprasad's signature is clearly visible. The same apply to Ouseppachan's music and Nimish Ravi's cinematography. (3.25/5)
- Shilalikhitam: This is undoubtedly the better Priyadarshan effort here, which unmasks the cruelty (or to put it better, lack of empathy) behind the "conventionally" kind and hospitable nature of villagefolk in Kerala. Biju Menon is in superb form, and even the child actor who plays his daughter is solid. (3.5/5)
- Sherlock: Right up Mahesh Narayanan's alley, the story of an alcoholic who moves to a wintry city in the US is safe in the hands of none other than Fahad Fazil. Nadiya Moidu also lends ample support, but the titular cat turns out to be an absolute scene-stealer. His interactions with Fahad's Balu, especially in a scene towards the end, had me on edge. The aesthetics of the house also give off that lived-in feel, and Fahad navigating unemployment and de-addiction with a suspicious cat in the house is as interesting as it can get. (3.5/5)
- Vilpana: Turned out to be a total miss in my books. Other than Madhoo's everlasting beauty, there isn't a lot to admire here. Asif Ali's wig was distractingly bad and Bhagyalakshmi's dubbing was not at all convincing. This has better potential to be a radio drama than an anthology featurette; Aswathy Nair's direction lacks finesse. (1/5)
- Kadalkkaatu: Another featurette that's better suited for a stage drama. Here too, you're likely to remember the cinematography than the plot or the performances. With performers like Indrajith and Aparna Balamurali, I might have expected a more layered output. (1.5/5)
- Abhayam Thedi, Veendum: This story holds immense potential, but director/cinematographer Santosh Sivan is perpetually busy treating us to dazzling frames instead. Even the true performer in Siddique is not fully tapped into. Once again, a disappointment.. but there are so many wallpaper-like shots here that capture the seductive beauty of Kerala. (2/5)
- Swargam Thurakkunna Samayam: Jayaraj nearly has complete control over his cast here, comprising the likes of Nedumudi Venu (whose passing gives this featurette an added emotional layer), Indrans, Renji Panicker, Surabhi Lakshmi, and more. Using natural lighting (of a vintage house during the monsoons in Kerala) also helps keep the proceedings grounded and real. The grey shades of each character are fairly well explored in what feels like an impactful closure to Season One. (3.25/5)
