Arun
Kumar Aravind was successful in remaking Pierce Brosnan starrer Butterfly on a Wheel into a stimulating Cocktail but it carried the tag of an ‘inspired’ uncredited
movie. Murali Gopy, journalist and thespian Bharath Gopi’s son who was last
seen in Bharamaram, had earlier penned Dileep’s Rasikan but there are not too
many people who can recall the movie. In a sort of redemption movie, the two
come together in Ee Adutha Kaalathu, a movie that gives Trivandrum an identity
beyond its lingua franca, made infamous by Suraj Venjaramoodu.
Ee Adutha
Kaalathu does not make Trivandrum a full-fledged character in itself like
Kahaani or Shor in the City but it gives the city its due by imparting its
precincts with a life of its own, whether it is the wastage grounds of Thopilashala
where protestors demand a stop to the dumping of garbage (but ironically dump
their waste in the same pandal), the town side where people survive doing odd
jobs or the urban centres where marital discords and sensational stories are
not easily hidden from the eyes of yellow journalistic papers like Thee. It
starts with the wastage of Thopilashala and eventually comes to a close at the
same place (You were made from the dust and into the dust, you shall return).
Ee Adutha
Kaalathu (EAK henceforth) is a fascinating hyperlink movie (movie with multiple
narratives and storylines) brought together by an extremely clever screenplay
and engaging set of characters which keeps you to the edge of your seat till
the very end. It is not a conventional thriller – a major crime goes on at the
background with very little notice while a minor crime sets off a wild chain of
events that changes the lives of the people involved. It is almost impossible
to discuss this movie without spending a lot of the time talking how the script
evolves.
In most
hyperlink movies, there are a set of characters who go about their lives till
one incident brings all of them together but in EAK, there is no one major
point of inflexion. There is a reason for the scenes to exist in a manner that
they come across and eventually, each of them has a link to a larger context in
the movie. Murali Gopy’s script is the hero of the story and I have not come
across a more seamless and effortless flow of scenes and characters in a
Malayalam movie in recent times.
In the
heart of the city, Ajay and Madhuri Kurien (Murali Gopy and Tanushree Ghosh)
are in a marriage that is under siege due to Ajay’s weird and abusive behaviour
and the only saving grace is the presence of their cricket-crazed son Ayush. At
the other end, in an Agraharam, are Vishnu and Ramani (Indrajith and Mythili)
who are deep in debt but survive on the odd jobs that they manage to find in
the city. Ramani is a rag picker wile Vishnu creates objects from the waste
(the one who does the actual job of recycling here as the voiceover says) and
sells them to make a living.
Tom
Cherian (Anoop Menon) is an IPS police officer who has returned from a brief
training at Scotland Yard but is clearly out of depth in the hard-nosed job of
police investigation and is looking for short cuts to achieve success on his
job. Roopa Vasudevan (Lena), Madhuri’s friend, is an investigative journalist
and feminist who eventually falls for Tom, in a convenient law-meets-media
marriage. Rustam (Nishan) is a North Indian construction worker who makes money
by making porn videos and is out to entice an extremely frustrated Madhuri.
Somewhere in the background, there also lurks a serial killer who hacks old
people to death and flees with their valuables and cash. An attempted heist
goes wrong one day and then….
There are
no black-and-white characters (even the city is tarnished by its overflowing
garbage dumping ground) and each has a background that lowers their sheen. Ajay
Kurien’s past holds a key to his absurd sexual behaviour now, Madhuri has had a
not so memorable life behind the arc lights, Tom Cherian’s training at Scotland
Yard makes him a butt of jokes, Roopa Vasudevan’s promiscuous and ‘liberal’
views serve as a mask for her insecurity that Thee paper exposes and even
Vishnu has a past filled with misadventures and failed attempts to make a
secure life for himself in the city.
Life is
full of surprises that cannot be explained but care has been taken to get the
script to go beyond these co-incidences and crank visuals into the plot that
explain a lot of what happens in the future – it’s almost like there is no
co-incidence and every scene exists for some specific reason. Even before the
Laughing Buddha creates havoc, we get a glimpse of it standing unsteadily on
top of the shelf. We see the broken kitchen handle in an earlier scene to
justify the house break-in, Vishnu’s arrival in Doctor’s Colony is preceded by
his role as a sub-broker for a house deal there, Ajay’s aversion towards Hindi
and his long sight by itself is trivial but they have a relevance towards the
end of the movie when Ajay almost discovers Madhuri’s secret.
In terms
of its form, EAK uses visual echoes to set the mood and tone of the movie at
regular intervals. The reading on the parish wall, the presence of the Lord and
the Father and even the RSS fleetingly suggests a helping hand from the top
(literally you’d realize when you watch the movie), life’s complexities (and
maybe the director’s!) as symbolized by the Rubik’s cube which Ayush finally
solves at the end, the car accident that begins and closes the movie, the
mirror which hides more than it reveals is used many times and the hacking of
the neck finds its resonance on more than one occasion (including Vishnu’s name
as Vettu ‘Vishnu’).
EAK
starts on a bit of a sluggish note with and takes quite some time to establish
the basic fault lines in the plot. It finally takes off with full ignition
almost 90 mins into the 1st half when Vishnu realises that something needs to
be done fast to get his life back on track. On a minor quibbling note, the
scriptwriter Murali Gopy does not full justice to his own story. He is sexually
frustrated due to some untoward incidents in his life and takes it out on his
wife but when Bonakkad Ramachandran (Jagathy) threatens to expose him and is
warned by Roopa, he makes a retreat. But does it affect his relationship with
his wife? Wonder why this side of the story was not taken to a more logical
conclusion.
It also
makes an attempt to stay away from stereotypes and so there are no permanent
heroes and villains in the piece. The only person who ends with a more redeemed
character at the end is the man with the lowest moral angle in the beginning.
Roopa and Madhuri share a close friendship but even when Madhuri says she knows
that Roopa will die but not reveal her secret, there is a veiled threat behind
it or when Madhuri talks about her disastrous fling, the first thing that Roopa
asks is Did you have sex?
As the
title suggests, EAK is a very contemporary movie peppered with a lot of
references to real life incidents but except for a couple of instances, the
rest of them form a part of the narrative. So, you have Padmanabha Swamy Temple's overwhelming presence at the background, problems with the Nano car’s performance,
concerns on the rising North Indian population among workers, sanitation
problems in the city, changing attitudes to sex, yellow gossip journalism and
tax raids on the two superstars (the only reference that is at once forced into
the narrative).
Indrajith
plays with aplomb the central role linking most of the narratives and his
choice of characters have ensured that he always has a few interesting movies
up his sleeve. Anoop Menon is a personal favourite now (had a hearty laugh when
he says I suspect a terror link at the scene of the murder or gives a detailed
ppt sketch of the suspected killer) while Jagathy continues to make cameos
count big with his stellar show (it's a tragedy that we may not see him for quite some time now; hope he bounces back after his accident).
Tanushree Ghosh as Madhuri suffers a wee bit with the dubbing at times but
makes her presence felt otherwise. But the biggest stars in the movie have to be Murali Gopy, Arun and
Gopi Sundar in their roles as the scenarist, editor and music director.
All so
casually, many of us talk about fantastic scripts but you must watch EAK to
understand how the writing literally drives the plot. Every small bend or curve
is negotiated with finesse and is well-oiled; the dialogues are smart and funny
and for most part, fit in with the natural scheme of things without forced
humour (witness the police questioning when they stop Madhuri’s car or
Duckworth-Lewis method in Ayush’s match or Tom’s serious observations on the
crime). It is easy to get carried away by the premise of talking of too many
things at the same time or going too glitzy and snappy while executing the
movie (the Kaminey types) but EAK does not get carried away.
With a
movie that works like a Rubik’s cube, the editor has a critical role in playing
it just at the right pace so that all the clues and links fit in smoothly,
without any hurdles and the editor-director translates the directorial vision
into clear cinematic space. Gopi Sundar’s brilliant BGM acts as a glue in
fusing all these aspects together (of course, I was told later that the main
theme music is rip-off from the soundtrack of a 1998 English movie Next StopWonderland) and you have a winner in your hands.
Multi-starrers
remind me of a strategy that Brad Pitt explains in Moneyball – if you can’t
replace a top player with another with the resources in one’s hand, get an
equivalent number of players who can create the same impact. It makes imminent
sense in Malayalam where resources are scarce but expectations continue to be
high (see how we react every time the National Awards are announced). I’d like
to think that the success of Traffic has put the spotlight on low and
mid-budget movies, starring multiple actors ‘decent’ screenplays and innovative trailers and EAK is an off-spring of this new development…
P.S Wonder why this movie has not been released outside Kerala? EAK has completed more than a 30 day run in Palakkad, so should be considered as doing pretty well but very few people I know seem to have seen it...Surprisingly!!!
Originally published in MadAboutMoviez - http://madaboutmoviez.com/2012/03/30/ee-adutha-kaalathu-movie-review-of-multiple-characters-and-a-vibrant-city/
P.S Wonder why this movie has not been released outside Kerala? EAK has completed more than a 30 day run in Palakkad, so should be considered as doing pretty well but very few people I know seem to have seen it...Surprisingly!!!
Originally published in MadAboutMoviez - http://madaboutmoviez.com/2012/03/30/ee-adutha-kaalathu-movie-review-of-multiple-characters-and-a-vibrant-city/
Pradeep, you're back! And with such a movie! I'm envious. Maybe by the time I get to India in the summer, my DVDwala will have a copy of this one. It's frustrating to hear about good movies in regional languages, and not be able to see them.
ReplyDeleteps: If you get a chance to see an Iranian film called 'A Separation' do watch it.
Yep, back after my 10 day hiatus. Hopefully, your DVDwala will have a copy of this when you return but depends when you time your trip - after all, you were supposed to fly down to Mumbai in March but looks like you did not make that trip. Or check Youtube if some of my mail recommendations maybe available online by now..
ReplyDeleteP.S. Finally, Anu recommends me a non-mainstream movie; the movie's put on my radar..
You are like Yves! Just because I usually write about what you deride as the 'masala' movie, doesn't mean I don't watch the others! LOL. I can give you recommendations for many, many, non-mainstream films.
ReplyDeletePersepolis, for one. The Band's Visit. The Widow of St.Pierre. The Other Side of Sunday. Babette's Feast. 400 Blows. The History Boys. Il Postino. Kolya. Tango. Krzysztof Kieslowski's Three Colours. Nelly and Monsieur Arnaud. My Father's Glory. My Mother's Castle. Jean de Florette and its sequel, Manon of the Spring. Au Revoir, Mes Enfants. Le Grande Chemin......
Need more? :))
Me and doubting Anu - how can I? Ofcourse I know by now that you have a much wider coverage of the cinema spectrum than I have but you haven't been recommending any non-masla movies. Any such recommendation has to be taken with an extra ounce of persuasion since you rarely suggest such movies!
ReplyDeleteAdmit to have seen only Persepolis, The Band's Visit and 400 Blows from your list - so much for watching only 'select' movies:)
Ee Adutha Kaalathu and the soundtrack of Next StopWonderland? I've never watched these movies... And thanks for your referring to Brad Pitt.
ReplyDeleteloved the BGM ..But since you have mentioned it as a rip off , really disappointed. Malayalam in recent times is seeing a revival in good cinema, which reminds me of that golden era of 80's. But unfortunately I am disappointed in general with present music directors, none seem to match the likes of Johnson,Raveendran, who in 80's were more experimental.
ReplyDeleteShyam, thanks for dropping by. Golden age of 80s? Well, that's quite a long way off but yes, there are indications that maybe it's taking a few right baby steps in that direction. As the cinema moves into a better territory, the music will also venture into fresh areas - the era of classical and semi-classical especially epitomized by Raveendran seems well and truly over, though...
ReplyDelete