rafathsiraj
Joined Apr 2021
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"Thudarum Mohanlal"
The king still rules the Malayalam reel world.
Review by M Siraj.
Taxi driver Shanmugam, famously known as "Benz" (Mohanlal), finds himself caught in a death-defying labyrinth when the local police chief unexpectedly hires him for a seemingly routine ride. As the situation spirals into danger, and with his family's safety hanging in the balance, Shanmugam is forced to make impossible choices. How far will he go to protect the ones he loves?
With Thudarum, director Tharun Moorthy crafts a near-perfect revenge thriller, seamlessly blending gripping storytelling with technical brilliance. The film stands tall among India's finest in the genre, never compromising on creativity or execution. Mohanlal delivers a powerhouse performance, channelling the vintage intensity that defined his early career, while Shobana matches his presence with equal depth and grace. Together-and apart-their performances are a masterclass in cinematic storytelling. Tharun Moorthy's directorial finesse is evident in every frame, commanding the narrative with unwavering conviction.
For Shanmugam (Mohanlal), his black Ambassador car is more than just a vehicle-it's a treasured symbol of his past, deeply woven into the fabric of his life. So, when it's impounded by the police over a case, he has no connection to, the loss hits him hard. Heartbroken and desperate, Shanmugam does everything in his power to reclaim the car. But Sub-Inspector Benny C Kurian (Binu Pappu) treats the case as a matter of personal pride, making Shanmugam's efforts futile.
Just when hope seems lost, Circle Inspector George Mathan (Prakash Varma) steps in and helps secure the car's release. But this apparent act of kindness is only the beginning of a far more sinister game, unknown to Shanmugam as well as to audience. Friendly and kind to Shanmugam, George Mathan has his own hidden agenda, and what follows is a downward spiral of events that drag Shanmugam deeper into a web of deceit and danger.
As the noose tightens, Shanmugam is left with no choice but to strike back, in his pursuit of justice, he unearths harrowing truths that shatter everything he believed in-plunging him into a storm far more dangerous than he ever imagined.
The film's greatest strength lies in Tharun Moorthy's precise directorial vision-his ability to extract meaning from every frame, whether it's a fleeting glance or a subtle gesture, like Shobana's powerful look toward the Inspector at the police station conveying powerful punchlines left to audience choice, every moment is meticulously crafted. Tharun Moorthy's mastery as a storyteller shine throughout, blending nuanced performances with a meticulously built atmosphere to create a film that speaks volumes beyond its dialogue.
Though the film opens with a gripping, edge-of-the-seat sequence set in a forested hillside reeling from a devastating landslide, Thudarum masterfully shifts gears-transitioning into the quieter, more intimate world of Shanmugam and his family, marked by a poetic shot of a herd of elephants huddled together in serene warmth.
From this point onward, Tharun Moorthy calisthenic deliberate restraint, allowing the narrative to unfold at a measured pace as he offers exposition subtly, never spelling out too much, while thoughtfully illuminating the evolving dynamics between the central characters.
Through carefully hewed moments, the filmmakers paint a rich, 360-degree portrait of Mohanlal and Shobana's world in the film's first act-where happiness feels deeply rooted, growing organically from the warm, genuine bonds shared within a small happy family.
Despite the visible generation gap between the parents and their two children, the film beautifully renders how they remain each other's emotional anchors-making any threat to their shared happiness feel like a snowball effect, growing in intensity and impact as it unfolds.
In the beginning one might wonder why Shobana speaks Tamil more often than Malayalam, while Mohanlal is fluent in Malayalam. The director cleverly ties these linguistic choices together, weaving in the presence of Tamil actors Bharathi Raja and Ilavarasu to add depth and meaning to the narrative.
Much like the car at the heart of its story, Thudarum gradually builds momentum as the stakes rise. Once it shifts into third gear, director Tharun Moorthy begins to unpack everything the film has been quietly holding back, transforming it into a tense, gripping thriller. What initially appears to be a case of Mohanlal's character getting entangled in trouble by sheer coincidence is later revealed-through masterfully executed misdirection-to be part of Inspector George's meticulously orchestrated plan, one that devastates Shanmugam's life and leaves him reeling.
While George and his cohorts, like Benny, believed the CI to be the undisputed lion of the metaphorical jungle-a cunning predator who would stop at nothing to protect his own interests-they gravely underestimated Mohanlal's Shanmugam. What they failed to see was that he was, in truth, a bull elephant: calm, powerful, and fiercely protective of his herd-one who neither forgets nor forgives a threat to his family.
Once the genre shift occurs, Thudarum confidently ventures into new territory-yet it never overreaches or loses touch with its emotional core. Director Tharun Moorthy maintains remarkable consistency and fluidity in storytelling, guiding the narrative with precision and tenacity. Every beat land at just the right moment, drawing the audience deeper into an emotional rollercoaster that tugs at the heartstrings while steadily building anticipation for a deeply satisfying, crushing payback.
Thanks to its stellar writing and masterful filmmaking, Thudarum makes a seamless and powerful transition from heartfelt family drama to gripping revenge thriller-boldly addressing a pressing social evil and setting a new benchmark for genre-blending storytelling.
The most appreciable aspect about the film is Director Tharun Moorthy succeeds in peeling back the layers of Mohanlal's stardom to reveal the raw, versatile actor beneath. Setting aside mass formulas and the trappings of his superstar persona, Tharun Moorthy brings out Mohanlal in his vintage form-the beloved man next door, vulnerable yet dignified, unafraid to laugh wholeheartedly or break down in tears. His eyes light up at the sight of loved ones and well with emotion when they're in pain. From the very first frame, Mohanlal delivers a pitch-perfect performance, reminding audiences that the true actor in him has always been there-waiting for a good director with the vision and restraint to tap into his depth and make hearts ache with empathy.
From the light-hearted comedic beats and endearing family moments-especially the effortless chemistry with Lalitha, portrayed magnificently by the ever-radiant Shobana-to the gradual unravelling of his mental state and the searing thirst for revenge that consumes him, Mohanlal breathes life into Shanmugam with astonishing depth. His performance leaves no room for refinement; it is layered, instinctive, and profoundly moving, particularly in the film's emotionally charged sequences. It feels like a return to form-an acting masterclass we haven't seen from him in last few years. Mohanlal shines with such intensity and authenticity that one can't help but wonder: is he acting, or is he truly living this character?
Prakash Varma deserves high praise for his chilling portrayal of CI George-one of the most sinister villains Malayalam cinemas has seen in recent times giving a tough time in acting to Mohanlal with his looks and mannerisms. Without ever resorting to exaggeration, he maintains an eerie restraint, masterfully revealing the many abhorrent shades of his character. Equally commendable is Binu Pappu's performance, which adds depth to the narrative with quiet menace, while the haunting background score amplifies the tension and elevates the film to greater emotional and cinematic heights.
From beginning to end, Thudarum is a deeply impressive experience-one where audiences can see themselves in Mohanlal. It's the Mohanlal people have longed to see: raw, relatable, and profoundly human. Director Tharun Moorthy understands this yearning of audience and delivers exactly that-bringing forth the kind of performance that moves viewers to tears. It's not just acting; it's a soulful connection, a reminder of why Mohanlal remains etched in the hearts of audiences across generations.
"The screen ends with 'Thudarum Mohanlal' - Yes, he's not going anywhere. The king still rules the Malayalam reel world!"
Review by M Siraj.
Review by M Siraj.
Taxi driver Shanmugam, famously known as "Benz" (Mohanlal), finds himself caught in a death-defying labyrinth when the local police chief unexpectedly hires him for a seemingly routine ride. As the situation spirals into danger, and with his family's safety hanging in the balance, Shanmugam is forced to make impossible choices. How far will he go to protect the ones he loves?
With Thudarum, director Tharun Moorthy crafts a near-perfect revenge thriller, seamlessly blending gripping storytelling with technical brilliance. The film stands tall among India's finest in the genre, never compromising on creativity or execution. Mohanlal delivers a powerhouse performance, channelling the vintage intensity that defined his early career, while Shobana matches his presence with equal depth and grace. Together-and apart-their performances are a masterclass in cinematic storytelling. Tharun Moorthy's directorial finesse is evident in every frame, commanding the narrative with unwavering conviction.
For Shanmugam (Mohanlal), his black Ambassador car is more than just a vehicle-it's a treasured symbol of his past, deeply woven into the fabric of his life. So, when it's impounded by the police over a case, he has no connection to, the loss hits him hard. Heartbroken and desperate, Shanmugam does everything in his power to reclaim the car. But Sub-Inspector Benny C Kurian (Binu Pappu) treats the case as a matter of personal pride, making Shanmugam's efforts futile.
Just when hope seems lost, Circle Inspector George Mathan (Prakash Varma) steps in and helps secure the car's release. But this apparent act of kindness is only the beginning of a far more sinister game, unknown to Shanmugam as well as to audience. Friendly and kind to Shanmugam, George Mathan has his own hidden agenda, and what follows is a downward spiral of events that drag Shanmugam deeper into a web of deceit and danger.
As the noose tightens, Shanmugam is left with no choice but to strike back, in his pursuit of justice, he unearths harrowing truths that shatter everything he believed in-plunging him into a storm far more dangerous than he ever imagined.
The film's greatest strength lies in Tharun Moorthy's precise directorial vision-his ability to extract meaning from every frame, whether it's a fleeting glance or a subtle gesture, like Shobana's powerful look toward the Inspector at the police station conveying powerful punchlines left to audience choice, every moment is meticulously crafted. Tharun Moorthy's mastery as a storyteller shine throughout, blending nuanced performances with a meticulously built atmosphere to create a film that speaks volumes beyond its dialogue.
Though the film opens with a gripping, edge-of-the-seat sequence set in a forested hillside reeling from a devastating landslide, Thudarum masterfully shifts gears-transitioning into the quieter, more intimate world of Shanmugam and his family, marked by a poetic shot of a herd of elephants huddled together in serene warmth.
From this point onward, Tharun Moorthy calisthenic deliberate restraint, allowing the narrative to unfold at a measured pace as he offers exposition subtly, never spelling out too much, while thoughtfully illuminating the evolving dynamics between the central characters.
Through carefully hewed moments, the filmmakers paint a rich, 360-degree portrait of Mohanlal and Shobana's world in the film's first act-where happiness feels deeply rooted, growing organically from the warm, genuine bonds shared within a small happy family.
Despite the visible generation gap between the parents and their two children, the film beautifully renders how they remain each other's emotional anchors-making any threat to their shared happiness feel like a snowball effect, growing in intensity and impact as it unfolds.
In the beginning one might wonder why Shobana speaks Tamil more often than Malayalam, while Mohanlal is fluent in Malayalam. The director cleverly ties these linguistic choices together, weaving in the presence of Tamil actors Bharathi Raja and Ilavarasu to add depth and meaning to the narrative.
Much like the car at the heart of its story, Thudarum gradually builds momentum as the stakes rise. Once it shifts into third gear, director Tharun Moorthy begins to unpack everything the film has been quietly holding back, transforming it into a tense, gripping thriller. What initially appears to be a case of Mohanlal's character getting entangled in trouble by sheer coincidence is later revealed-through masterfully executed misdirection-to be part of Inspector George's meticulously orchestrated plan, one that devastates Shanmugam's life and leaves him reeling.
While George and his cohorts, like Benny, believed the CI to be the undisputed lion of the metaphorical jungle-a cunning predator who would stop at nothing to protect his own interests-they gravely underestimated Mohanlal's Shanmugam. What they failed to see was that he was, in truth, a bull elephant: calm, powerful, and fiercely protective of his herd-one who neither forgets nor forgives a threat to his family.
Once the genre shift occurs, Thudarum confidently ventures into new territory-yet it never overreaches or loses touch with its emotional core. Director Tharun Moorthy maintains remarkable consistency and fluidity in storytelling, guiding the narrative with precision and tenacity. Every beat land at just the right moment, drawing the audience deeper into an emotional rollercoaster that tugs at the heartstrings while steadily building anticipation for a deeply satisfying, crushing payback.
Thanks to its stellar writing and masterful filmmaking, Thudarum makes a seamless and powerful transition from heartfelt family drama to gripping revenge thriller-boldly addressing a pressing social evil and setting a new benchmark for genre-blending storytelling.
The most appreciable aspect about the film is Director Tharun Moorthy succeeds in peeling back the layers of Mohanlal's stardom to reveal the raw, versatile actor beneath. Setting aside mass formulas and the trappings of his superstar persona, Tharun Moorthy brings out Mohanlal in his vintage form-the beloved man next door, vulnerable yet dignified, unafraid to laugh wholeheartedly or break down in tears. His eyes light up at the sight of loved ones and well with emotion when they're in pain. From the very first frame, Mohanlal delivers a pitch-perfect performance, reminding audiences that the true actor in him has always been there-waiting for a good director with the vision and restraint to tap into his depth and make hearts ache with empathy.
From the light-hearted comedic beats and endearing family moments-especially the effortless chemistry with Lalitha, portrayed magnificently by the ever-radiant Shobana-to the gradual unravelling of his mental state and the searing thirst for revenge that consumes him, Mohanlal breathes life into Shanmugam with astonishing depth. His performance leaves no room for refinement; it is layered, instinctive, and profoundly moving, particularly in the film's emotionally charged sequences. It feels like a return to form-an acting masterclass we haven't seen from him in last few years. Mohanlal shines with such intensity and authenticity that one can't help but wonder: is he acting, or is he truly living this character?
Prakash Varma deserves high praise for his chilling portrayal of CI George-one of the most sinister villains Malayalam cinemas has seen in recent times giving a tough time in acting to Mohanlal with his looks and mannerisms. Without ever resorting to exaggeration, he maintains an eerie restraint, masterfully revealing the many abhorrent shades of his character. Equally commendable is Binu Pappu's performance, which adds depth to the narrative with quiet menace, while the haunting background score amplifies the tension and elevates the film to greater emotional and cinematic heights.
From beginning to end, Thudarum is a deeply impressive experience-one where audiences can see themselves in Mohanlal. It's the Mohanlal people have longed to see: raw, relatable, and profoundly human. Director Tharun Moorthy understands this yearning of audience and delivers exactly that-bringing forth the kind of performance that moves viewers to tears. It's not just acting; it's a soulful connection, a reminder of why Mohanlal remains etched in the hearts of audiences across generations.
"The screen ends with 'Thudarum Mohanlal' - Yes, he's not going anywhere. The king still rules the Malayalam reel world!"
Review by M Siraj.
Garudan: An Imaginable performance of Soori.
The one line of 'Garuda' is on a person who is caught between fairness and loyalty and what he ultimately chooses, after a chain of events that pits lifelong friends against each other in a tale of betrayal and vengeance written and directed by RS Durai Senthilkumar, based on an interesting and intriguing story by Vetrimaran
Minister R. V. Udayakumar eyeballing a lucrative land owned by Temple in a village, where Sasikumar and Unni Mukundan who are close friends since childhood are living, and Soori, a faithful servant to Unni Mukundan's family who is an orphan who rescued years ago, plays a significant role in both families, overseeing their matters assiduously.
As the Minister's henchman tempts Unni Mukundan with a deal to deceive Sasi Kumari and to surrender the temple documents for an abnormal monetary benefit, persuaded by his wife's desires, agrees, eliciting a heartbreaking chain of events. Unni manipulates Soori's loyalty, installing him as the new trustee to assist in the document theft. Sasi Kumar, unclear of Unni Mukundan's betrayal, meets a brutal end, witnessed by Soori, caught between allegiance to Unni and a sense of justice, Soori lands at a tough decision, leading to an intense showdown.
Garuden maintains a fast pace, the film effectively portrays the close bond between the three main characters, intensifying the impact of the betrayal. Soori stands out with his conflicting emotions, portrayed in a way that goes against his natural loyalty. Additionally, he is unable to lie in front of his master, leading to humorous moments of stream-of-consciousness rambling.
It will be interesting to see what happens next in a film that capitalizes on the thrill. The intermission scene where everything gets thrown away is guaranteed the best theatre experience of the year with Soori's never ever before screen presence with extreme violence and splashing blood, with screaming, strangulation and cutting of hands.
The plot, galloped on betrayal, the film's use of graphic violence and bloodshed, while enhancing its intensity, feels excessive and slightly diminished their impact. Soori, Sasikumar, and Unni Mukundan share equal screen time, Sasikumar delivers his usual flair with a worthy performance. Unni Mukundan new comer from Kerala, impresses with his earnest portrayal seamlessly delves into the character's psyche. However, it's Soori, as an actor, has previously done mostly comedy roles as hero's sidekick, in this film Soori shines, with muddy vibes of the brickfield, transitioning from a loyal servant to a principled fighter, offering the film's emotional core. He delivers an outstanding performance, continuing his successful streak of serious role in Viduthalai, audience is at the edge of seat, they can see only Sokkan the character of Soori throughout the film, and Soori's miracle transformation from Comedy character to a serious and emotional rural action flick, it proves how a capable director can mould an actor to the desired character. Hats off to Director and Soori.
Yuvan Shankar Raja's background music is impressive to uplift the film, the Director RS Durai Senthilkumar has weaved Garudan to appeal the audience to see Soori with a totally different mannerism and body language. The climax builds up with a high-speed chase, culminating in a dramatic confrontation that will leave audiences on the edge of their seats.
Overall, Garudan is a rollercoaster of emotions that will stay with viewers for long time with Soori's life time performance.
Review by M. Siraj.
The one line of 'Garuda' is on a person who is caught between fairness and loyalty and what he ultimately chooses, after a chain of events that pits lifelong friends against each other in a tale of betrayal and vengeance written and directed by RS Durai Senthilkumar, based on an interesting and intriguing story by Vetrimaran
Minister R. V. Udayakumar eyeballing a lucrative land owned by Temple in a village, where Sasikumar and Unni Mukundan who are close friends since childhood are living, and Soori, a faithful servant to Unni Mukundan's family who is an orphan who rescued years ago, plays a significant role in both families, overseeing their matters assiduously.
As the Minister's henchman tempts Unni Mukundan with a deal to deceive Sasi Kumari and to surrender the temple documents for an abnormal monetary benefit, persuaded by his wife's desires, agrees, eliciting a heartbreaking chain of events. Unni manipulates Soori's loyalty, installing him as the new trustee to assist in the document theft. Sasi Kumar, unclear of Unni Mukundan's betrayal, meets a brutal end, witnessed by Soori, caught between allegiance to Unni and a sense of justice, Soori lands at a tough decision, leading to an intense showdown.
Garuden maintains a fast pace, the film effectively portrays the close bond between the three main characters, intensifying the impact of the betrayal. Soori stands out with his conflicting emotions, portrayed in a way that goes against his natural loyalty. Additionally, he is unable to lie in front of his master, leading to humorous moments of stream-of-consciousness rambling.
It will be interesting to see what happens next in a film that capitalizes on the thrill. The intermission scene where everything gets thrown away is guaranteed the best theatre experience of the year with Soori's never ever before screen presence with extreme violence and splashing blood, with screaming, strangulation and cutting of hands.
The plot, galloped on betrayal, the film's use of graphic violence and bloodshed, while enhancing its intensity, feels excessive and slightly diminished their impact. Soori, Sasikumar, and Unni Mukundan share equal screen time, Sasikumar delivers his usual flair with a worthy performance. Unni Mukundan new comer from Kerala, impresses with his earnest portrayal seamlessly delves into the character's psyche. However, it's Soori, as an actor, has previously done mostly comedy roles as hero's sidekick, in this film Soori shines, with muddy vibes of the brickfield, transitioning from a loyal servant to a principled fighter, offering the film's emotional core. He delivers an outstanding performance, continuing his successful streak of serious role in Viduthalai, audience is at the edge of seat, they can see only Sokkan the character of Soori throughout the film, and Soori's miracle transformation from Comedy character to a serious and emotional rural action flick, it proves how a capable director can mould an actor to the desired character. Hats off to Director and Soori.
Yuvan Shankar Raja's background music is impressive to uplift the film, the Director RS Durai Senthilkumar has weaved Garudan to appeal the audience to see Soori with a totally different mannerism and body language. The climax builds up with a high-speed chase, culminating in a dramatic confrontation that will leave audiences on the edge of their seats.
Overall, Garudan is a rollercoaster of emotions that will stay with viewers for long time with Soori's life time performance.
Review by M. Siraj.
Bramayugam. Mammootty proves he is a flabbergasting ogre in performance. Review by M. Siraj
Bramayugam, directed by Rahul Sadasivan, is a brilliant folklore horror thriller that explores power corruption and human greed, and Mammootty's standout performance versatile acting, and script selection make it a must-watch cinematic experience. In the 17th century, Devan (Arjun Asokan) runs away with his friend Kora in the thick forest, at night Kora is dragged away by Yakshi (Witch/Goblin) making him fall into a trap of enchantment as he enters into a nearby dilapidated Mana (mansion) to save his life from it. In the beginning he doesn't know the mansion belongs to Koduman Potti (Mammootty) who trapped him in the supernatural house of cruelty.
Movie is slow paced in the beginning and takes time to set up the plot, later goes fairly engaging with an extraordinary creepy and scary performance of Mammootty. Every scene goes elaborated with visuals and sound effects. The art work is excellent as the Mana (Mansion) and its surroundings are untidy, nature has reclaimed parts of it, with vegetation creeping up the walls and many roof tiles broken as the look itself screams, "visitors not allowed".
Mammootty excels as the role of a Villain in howling horror, as seeing his shadow comes the shudder that comes from seeing the shadow of Dracula, the horror effect he gives with his vision and voice while sitting majestically in a chair distorts the stomach of audience. Ogre
Hats off to Director Rahul Sathasivan for framing the story in Black and White with only 3 characters throughout the film, slowly narrates how Devan escaped from that Mana (Mansion) full of occult and ambiguities to become his prison. Mammootty has brought the character to life with his trademark voice, laughter with stained teeth and sitting posture, as well as the tone of the legend and nerve-wracking intimidating gaze. In some scenes, his voice, even his shadow, makes us convulsion to compensate for his presence. Cinematography is the backbone of the film, shot entirely in black and white, (Hats of the Director's courage) with a single ruined mansion (Mana) palace as the plot. Along with the lighting for black and white, his compact frames go hand in hand, transmitting horror and the supernatural in depth. In fact, every frame and angle of Mammootty replicates the voice of that Koduman potti character. Background music plays a pivotal role in the movie by transmitting to the audience many feelings of mystery, deceit, aggression and fear, vividly through a mixture of folk and Carnatic music giving boundary shots in horror scenes. Director's concentrated collage can be felt not only in the thrill scenes, but also in the scenes that show the mental state of the characters. Director Rahul Sadasivan made an absolutely terrific folklore horror with brilliant metaphorical layers on power corruption and human greed whereas Mammootty proves he is a flabbergasting ogre in performance.
There is a famous Dialogue by Mohan Lal in the Film "Manichitrathazh" as follows:
"Oru mano roga chikilsakanum sanjarichittillatha vazhikalil koodi gnan sanjarichu ennirukkum. (I may travel in any route which other Psychiatrist were not travelled) Oru branthanai pole. (As a mad man) Ente nakulanuvendi. (For my Nakulan) Avante bharyakku vendi. (For his wife) I am going to break all conventional concept of psychiatry".
Here Mammootty breaks all the conventional concept of a Hero. Even after 400 films in his credit, his quest for new roles, passion for acting never ends. Really, he is a mad man who had the courage to travel in different routes which other actors are not dare enough to try. He is least worried about his image, concentrating only for the Character he portrays.
Yes. Mammootty is a Mad Man.
Review by M. Siraj.
Bramayugam, directed by Rahul Sadasivan, is a brilliant folklore horror thriller that explores power corruption and human greed, and Mammootty's standout performance versatile acting, and script selection make it a must-watch cinematic experience. In the 17th century, Devan (Arjun Asokan) runs away with his friend Kora in the thick forest, at night Kora is dragged away by Yakshi (Witch/Goblin) making him fall into a trap of enchantment as he enters into a nearby dilapidated Mana (mansion) to save his life from it. In the beginning he doesn't know the mansion belongs to Koduman Potti (Mammootty) who trapped him in the supernatural house of cruelty.
Movie is slow paced in the beginning and takes time to set up the plot, later goes fairly engaging with an extraordinary creepy and scary performance of Mammootty. Every scene goes elaborated with visuals and sound effects. The art work is excellent as the Mana (Mansion) and its surroundings are untidy, nature has reclaimed parts of it, with vegetation creeping up the walls and many roof tiles broken as the look itself screams, "visitors not allowed".
Mammootty excels as the role of a Villain in howling horror, as seeing his shadow comes the shudder that comes from seeing the shadow of Dracula, the horror effect he gives with his vision and voice while sitting majestically in a chair distorts the stomach of audience. Ogre
Hats off to Director Rahul Sathasivan for framing the story in Black and White with only 3 characters throughout the film, slowly narrates how Devan escaped from that Mana (Mansion) full of occult and ambiguities to become his prison. Mammootty has brought the character to life with his trademark voice, laughter with stained teeth and sitting posture, as well as the tone of the legend and nerve-wracking intimidating gaze. In some scenes, his voice, even his shadow, makes us convulsion to compensate for his presence. Cinematography is the backbone of the film, shot entirely in black and white, (Hats of the Director's courage) with a single ruined mansion (Mana) palace as the plot. Along with the lighting for black and white, his compact frames go hand in hand, transmitting horror and the supernatural in depth. In fact, every frame and angle of Mammootty replicates the voice of that Koduman potti character. Background music plays a pivotal role in the movie by transmitting to the audience many feelings of mystery, deceit, aggression and fear, vividly through a mixture of folk and Carnatic music giving boundary shots in horror scenes. Director's concentrated collage can be felt not only in the thrill scenes, but also in the scenes that show the mental state of the characters. Director Rahul Sadasivan made an absolutely terrific folklore horror with brilliant metaphorical layers on power corruption and human greed whereas Mammootty proves he is a flabbergasting ogre in performance.
There is a famous Dialogue by Mohan Lal in the Film "Manichitrathazh" as follows:
"Oru mano roga chikilsakanum sanjarichittillatha vazhikalil koodi gnan sanjarichu ennirukkum. (I may travel in any route which other Psychiatrist were not travelled) Oru branthanai pole. (As a mad man) Ente nakulanuvendi. (For my Nakulan) Avante bharyakku vendi. (For his wife) I am going to break all conventional concept of psychiatry".
Here Mammootty breaks all the conventional concept of a Hero. Even after 400 films in his credit, his quest for new roles, passion for acting never ends. Really, he is a mad man who had the courage to travel in different routes which other actors are not dare enough to try. He is least worried about his image, concentrating only for the Character he portrays.
Yes. Mammootty is a Mad Man.
Review by M. Siraj.