mervkv

I write this just a few minutes after I watched Kireedam for the first time. I am blown away by this film. After seeing films like Manichithrathazhu (1993), Manasinakkare (2003), and Kireedam, I have a totally new respect for Malayalam cinema. Because most Malayalam films are basically about super-hero men who walk around giving melodramatic speeches, I spent my whole life thinking that those silly Bollywood blockbusters were India's best films. But now I know better. While the Hindi film industry has offered some fine films (e.g., Dil Chahta Hai and Sholay), the majority of the best Indian movies I've seen are Malayalam films.

I became a Mohanlal fanatic after watching his performance in Mani Ratnam's criminally under-appreciated Iruvar (1997). For me, seeing Kireedam cements Mohanlal's position as one of India's top 2 or 3 greatest actors, if not the greatest.

What makes Kireedam so special is that it is completely plot-driven. As we all know, a completely plot-driven film is a rarity in Indian cinema, North or South. Also, this movie is an intense character study both of a young man whose bright future deteriorates before his very eyes and of a father (Thilakan) who is forced to watch helplessly as it happens. Before seeing Kireedam, I never realized how brilliant an actor Thilakan can be.

Kireedam is one of Indian cinema's best films, and it is a cultural treasure for every Malayalee. I actually think that I understand my parents' native Kerala much better now that I have seen this film.

The first half of Manichithrathazhu may be slow, but the second half becomes gripping. The amazing climax, featuring Shobana's spectacular dance with her partner, pushes this movie from a simple Malayalam thriller to the level of high art. Although the film isn't perfect--there are minor plot holes, and Mohanlal's entertaining performance goes over the top in some scenes--Manichithrathazhu is one of the best Indian movies I've seen.

After watching this movie, I couldn't believe it was directed by Fazil, the same guy who churned out overly sentimental mush like Aniyathi Pravu (1997) and shameless, cookie-cutter Hollywood remakes like Life Is Beautiful (2000). Manichithrathazhu has to be the high point of Fazil's career.

After a lifetime of avoiding most Malayalam movies like the plague, old classics like this film are turning me into a big fan of Malu films. Also, after watching his charismatic performances in films like Nadodikattu (1987), Pattana Pravesham (1988), Akkare akkare akkare (1990), and Manichithrathazhu, I find myself becoming an enthusiastic fan of Mohanlal. If you're not already a Mohanlal fan, watching Manichithrathazhu may make you one.

Hulchul continues Malayalee director Priyadarshan's habit of remaking Malayalam hit movies into Bollywood box office success. Hulchul is a remake of the Siddique-Lal-directed "God Father" (1991), in which two kids from rival families fall in love. Their romance is complicated by the fact that the guy's patriarch and the girl's matriarch bitterly hate each other. The story is somewhat inspired by Romeo and Juliet, except that it's a comedy.

("Har Dil Jo Pyar Karega..." (2000), which was not directed by Priyadarshan, was a remake of Priyadarshan's Malayalam superhit "Chandralekha" (1997).)

"Hera Pheri" (2000), touted as one of the biggest Bollywood comedies of the past decade, was Priyadarshan's remake of Siddique's first big Malayalam hit, "Ramji Rao Speaking" (1989).

It would be nice if Priyadarshan could bring something original to the Bollywood screen, rather than remakes.