Pathonpatham Noottandu

First of all I would like to appreciate the effort that has been put into making this film.

Positives.. 1. Good performance from The Nangleli actress. She did her best.

2. The BGM is nice even though there are places where its overdone.

3. The overall direction, art and choreography did well.

4. The film did bring those old era feels.

Now onto some criticism.. 1. Siju Wilson performance is just average, I mean the acting part.

2. Storyline is bit boring here and there. Not a totally compelling tale.

3. Gokulam Gopalan's casting as the lead actor's grandfather is terrible (cringe fest).

4. Also the Kannan kurup guy is below average.

5. Expected a more intense screenplay.

The film is better than Marakkar or Mamangam but no way close to Vadakkan Veeragatha or Pazhassiraja.

This could have been an epic, landmark movie ! In terms of production and costumes the movie might be one, but had the storytelling be tighter, editing a bit more crispier, some insights into main character's origin or struggles or "thoughts" (we only see his final actions and repercussions of those actions.

Now coming to the movie itself - the actions sequences were well shot - but got repeating and quite honestly boring towards the end. I was almost sleeping through some in the Theatre after a while ( yeah there is bunch of similar slow motion action sequences which definitely could have been cut)

The idea of clubbing Nangeli, Kochunni and Velayuda Panikar as a creative liberty would have been fine had they made a significant difference - here these are done in a messy and pretty ridiculous manner. And king asking Panikar to capture Kochunni and Kochunni stealing from a poor priest are really doing injustice and totally wrapping history cruelly and un-necessarily as well ( it doesnt really after the overall narrative other much )

Among the movies which have came from time to time in malayalam film industry depicting the historical events, this movie stands out with its strong plot, perfect casting & power packed visuals.

The core of the movie is indeed the plot which grabs our attention and takes us to the unethical practices in 19th century and as a viewer we are able to experience it in a wider scale through this movie.

The power packed action scenes gifts a wonderful theatric experience without a flaw and give goosebumps in time.

Though the songs were not up to the mark the background score have done justice.

As an actor, this movie is indeed gonna be a turning point for Actor Siju, as his dedication level in portraying the character is really commendable. Actress Kayadu Lohar have also done a good job in executing the character in an intensive way and conveying the message.

This movie really needs a lot of appreciation as it's one of its kind which we can present globally, and can even add as a milestone in malayalam industry, but i was surprised to see the theatres with more empty seats within a week.

Anyway director Vinayan have delivered us a wonderful movie taking it to the next level and let's hope his future developments are also fruitful in time.

Pathonpatham Noottandu is an episodic re-telling of certain events that took place in the 19th century with extreme cinematic liberties taken by writer-director Vinayan. For sure, the visuals by Shaji Kumar, Ajayan Chalissery's production design, Supreme Sundar's stunt choreography, and Santhosh Narayanan's score give the film a strong technical backing but the script lacks the emotional punch required in a film like this. Siju Wilson's presence is imposing and he totally shines in the set-pieces as Ezhava spice merchant turned activist Aarattupuzha Velayudha Panicker. Kayadu Lohar's portrayal of Nangeli is also quite impressive. Chemban Vinod, who plays (a different version of) Kayamkulam Kochunni, is decent. The cast is huge, with prominent names filling up important roles.

For a relatively smaller budget period film, Pathonpatham Noottandu scores better than some of the other entries in this genre in recent memory (i.e. In the Malayalam language). Yet, most characters are uni-dimensional and fail to register as anything beyond good/bad. The melodrama, which is usually on the higher side in Vinayan films, is thankfully balanced out with the action blocks and sub-plots. He reserves it exclusively for the climax, which recalls a folklore we've all read or heard somewhere. There is a very chapter-by-chapter feeling to the film, be it in the way it introduces (and re-introduces) characters or major plot developments. This adds to the emotional disconnect between us viewers and the film's protagonists.

I like the way the mytho-historic genre is treated in this film. There is an element of 'larger than life' persona of a historic figure and also important chapter in the fight of the subalterns against the dominant upper casts who had proclaimed insulting rules such as 'breast tax'. To think that such a 'tax' even existed is shocking these days. One had to fight to even restore the basic human dignity of covering oneself itself will be an eye opener to many in modern India. How much resistance from the upper cast men who wanted to legitimize 'letching' or more way to keep the subalterns humiliated. Definitely an important film to watch for its portrayal of modern social equality movement in India. At the same time the film narrative and visualisation is in the heroic mode, with stylised fight sequence and other 'hero' cinema tropes. On the whole an enjoyable as well as an enlightening watch.