- Date of Release: 15 August 2024
- Genre: Comedy, Drama, Romance
- Language: Malayalam
- Watch On: Zee5 Premium
Manorathangal
Introduction
It has been almost 3 months since I started picking and watching some of the gems from the Malayalam Film Industry, most of them from the 80s and 90s that have shaped the taste of the viewers over a period of time. This is true particularly because the topics chosen back in the day were so ahead of their times that it still holds relevance, even as I sit to write this review in 2024. If you look closely, the writing of the films was so practical and layered that those films still hold a huge fan following amongst the current generation. Amidst some of the writers who were honestly legends, one of them was MT Vasudevan Nair who had such a beautiful way of depicting the various philosophies of life, whose some of the literary works still hold relevance in today’s times. And I was so grateful to have watched a few of his films from back in the day(all thanks to my subscribers and their recommendations on youtube), that made me evolve that much more in my tryst with cinema. So, when I did get to know about the anthology Manorathangal featuring a collection of MT Vasudevan Nair’s hidden gems which are weaved into shorts, I was absolutely sold. And to have, Padma Vibhushan Dr. Kamal Haasan playing the Sutradhaar and an entire whose who of the Malayalam Film Industry joining hands for the project, my curiosity was at its peak. Another facet that was interesting for me was how the modern filmmakers would interpret the tales of the legend. With much anticipation, I ventured into the world of Manorathangal penned by the veteran MT Vasudevan Nair. Does the anthology manage to impress, let’s find out.
Olavum Theeravum
A story of a boatman who happens to fall in love with his late friend’s sister, only for fate to have other plans. The story here is so layered and nuanced while touching upon the concepts of patriarchy which still holds relevance today. The screenplay depicts the blossoming of a love story that definitely seemed organic even while slightly touching upon the concept of hierarchy based on the social status of the two individuals, before delving into the area of the third wheel in the form of a character that was definitely more powerful, financially speaking too. Yet, the penultimate face-off reminded me of Mohanlal’s yesteryear classic Kireedam. This before the magic of MT Vasudevan Nair was on full display at the end. The concept of patriarchy was dismantled at the end given how the character of the woman(raped by the character of Hareesh Peradi) rejects the offer of Mohanlal to be taken care of, instead opting for the fact that she could take care of herself. And while the ending is a little shocking(also left to the imagination of the viewers on the fate that the characters meet), the idea of shooting the short in monochrome, suddenly infuses a sense of Schindler’s List in it, with the frames emitting a strong hue of red. Director Priyadarshan(who is also the showrunner) does such an incredible job here by setting the mood of the 70s with perfection, while beautifully keeping the leisurely paced writing of the legend intact. Hareesh Pedanti, Durga Krishna, Surabhi Lakshmi and Mohanlal, all manage to impress in what were some sparkling performances through and through. Overall, this short is layered and nuanced while still holding a piece of relevancy especially with the news circulating on social media today!
Rating: 3.5/5
Kadugannava
A story of redemption featuring a man, who travels to Sri Lanka with the hope if finding a woman who he believes is his step sister. The story here is gentle and nuanced but this short definitely suffers from a screenplay that is contrived, and doesn’t quite space out the nuanced core of the film. I wished the screenplay would allow the viewers to spend more time with the characters, particularly with the flashback that needed to be fleshed out a little more to evoke a range of emotions at the end as a part of the payback. This is not to say that the proceedings were a complete miss. There was a warm vibe of longing which was accompanying the narrative, and that held the screenplay together. The ending was heartbreaking nevertheless, and I liked a sense of incompleteness towards the end, a feeling that would potentially linger on long after the film has ended. Director Ranjith does a good job although I did feel that he could have extended the second act by a good 15 minutes to evoke a sense of heartbreak for the viewers. Vineeth and particularly Mammootty were excellent here and the latter just spoke a thousand works through his stoic presence which was gut-wrenching at the end. This short end up being a decent watch.
Rating: 3/5
Kazhcha
This has got to be a short that will go down as my favourite from the list here. A story of a young woman who visits her home only to break the news of her failing marriage, only to get some much needed support at the most unexpected place. The story here is so beautifully woven and another piece of literacy that is aimed towards women empowerment, and something that all women would be able to relate to. I have been a firm believer myself of how a woman should have the courage to say no and always walk out of a failing marriage without having to deal with the abuses of her husband. But most women are taught to stick on to their spouse and keep giving him chances, either by turning a deaf ear to her own problems, or opting for a kid which would divert all her attention towards her child. And that is something beautifully highlighted in this incredible screenplay that is so well written. Even when the character of Parvathy is infactuated to a seemingly caring man, her ingrained upbringing makes her curb her instinct. But one thing to note about MT Vasudevan Nair’s stories is the presence of strong women characters, also those around the protagonist. And the idea of having an 80-something woman advise the character of Parvathy to break her marriage and follow her heart, will have to be the most progressively written character that has the potential to break the age-old shackles and customs, something that was so heartening to watch. Director Shyamaprasad does an exceptional job in weaving this short with a tinge of sensitivity. This also has to be a career best performance by Harish Uthaman who is outstanding here. Parvathy is brilliant to the core, often internalizing her problems while donning a smile on her face for the world to watch. This short comes with my highest recommendation.
Rating: 4.5/5
Shilalikhitham
A story of a man and his daughter who are pitted against each other following the discovery of a woman’s body at a nearby brook. The story here is layered while highlighting how the helpful nature of people has been fast dwindling. The focus is on the countryside here that would usually be known for the helpful nature of the people. But most things change even with the discovery of a young woman beside the brook(she was alive at the time of discovery). Now there are different perspectives to the tale, one of them being that of the protagonist who has shifted base to the city, and doesn’t wish to get into any trouble on his short visit to the village(a little backstory of his relationship with the girl also tells us about his infatuation towards her while having a stark difference in their social statuses). On the other hand, the villagers also completely ignore the woman, ignoring her pleas of being rescued or even being provided with water on her death bed. Their idea was to jump in action and work on the funeral, almost like vultures waiting for their prey to die first. This hard-hitting fact does translate into a bout of guilt for the protagonist, even as he gets to know of his teenage daughter helping out without any prejudice. The last scene of the bus travelling away itself was symbolic of today’s times wherein people are more interested in recording stuff while ignoring the help pleas of the victim. Director Priyadarshan does an incredible job here in highlighting the subtler nuances of the writing. Biju Menon was absolutely brilliant in a layered character that almost acts as a mirror to the society and the times that we live in. This short has the potential of lingering on, long after it has ended!
Rating: 4/5
Vilpana
A story of two strangers who happen to meet by accident while forming an unlikely friendship. The story here uses the furniture for sale as a metaphor for change even while retaining a sense of nostalgia with respect to the past. And the conversations do lead to revelations about the characters too. My only flaw with the screenplay was its setting that was essentially reduced to a single location. As a result of this staging, some parts of the conversations felt a little dragged at a few places, something that could have bern shortened a bit for a marginally crisper watch. While the emotions in play coupled with the metaphors do evoke sentiments of longing and regret, I was absolutely floored by the ending that gave a clear picture of the failing marriage of the character of Madhoo, something that was heartbreaking and gut-wrenching. The screenplay did unfold like the memoirs of the lonely person while also being aloof to the possibility of finding hope in the form of another person that was beautifully highlighted. Director Ashwathy Nair does a good job here while playing well with the ambience of the drama (perhaps a tad too much). Madhoo and Asif Ali are excellent here, and both managed to shine through the interactions that they share. This one ends up being a decent short.
Rating: 3/5
Sherlock
A story of loneliness in a foreign land is wonderfully highlighted here wherein a cat is the only company of a man who has migrated to the US for better opportunities. The story here uses silence as a virtue really well while also using cat as a metaphor for ‘reality of the protagonist’. So while he is irritated with the cat and wants to run away from it, the cat keeps following him much like the reality of the situation that he finds himself in. The cat can also be used as a metaphor for his past, given that he is witness of his sister’s strained marriage in a foreign land that could also be equated with loneliness. And this is the reality of so many folks who migrate to a foreign land away from home, only to realise the challenges that their situation brings with it wherein even if you wish to run away from the situation, the situation follows you back. Director Mahesh Narayanan is a master of using silence as a virtue and he does a commendable job here. Nadiya Moidu is wonderfully restrained while Fahadh Faasil does an incredible job here while using his stoic expressions to great use. This short has the potential to linger on, long after it has ended.
Rating: 4/5
Kadalkkattu
A story of a man who moves out of his village to earn a better living while leaving his wife and child at home, only refusing to revisit them as he finds himself attracted to another woman. The story here explores the concept of infidelity in a rather subtle manner, almost being reactive to the actions of the protagonist. So when the protagonist does shout at his nagging wife over the call, only to induce in a layer of softness with his new flame, you tend to question the principles of him. But at the same time, you do reflect on him being an opportunist, firstly leaving his family to earn a better living, to falling in love but refusing commitment of marriage to escaping back to his home as a part of his redemption. This confused state of the protagonist is in contrast to his pet dog who is often shown to be barking at him, that is symbolic of the dov being faithful(you see him warming up to him at the end too). The part which didn’t quite highlight the opportunist behavior of the protagonist was the flashback portions which needed to be slightly more fleshed out, given that it also talked about the caste system. But the twist at the end was again an epitome of the resilience of the Indian woman towards her husband who always is willing to give repetitive chances to her husband. Director Rathish Ambat captures the subtle aspects of the screenplay with a lot of panache and he definitely shines with flying colours. Aparna Balamurali, Indrajith and Ann Augustine are excellent in their respective characters in an overall job done really well. The short definitely leaves a lasting impression.
Rating: 3.5/5
Abhiyam Thendi Veendum
A story of an unnamed man who returns to his village only to find that things have drastically changed. This until he finds a home for himself. One of the most breathtaking aspects of this drama has to be the frames here, each of which are so refreshing to witness while seamlessly accompanying the narrative which is a metaphor in its entirety. For instance, the home where the protagonist stays is a metaphor for his decaying mind almost being stuck in the past while grieving the death of an unnamed woman. And even while he tries to put his past behind him while renovating his dilapidated home, the society brings him back to his reality by adding constant obstacles in his life. What I also admired about the writing was the representation of death, and it being the final destination, more like the landlord who would often turn up unexpected. The frames alternating between monochrome and colour at the end was just beautiful to witness. Director Santosh Sivan does an incredible job here in communicating concepts through his incredible frames, each of which tell a silent story! Siddique and Ishat Yamini are excellent here with performances that stay with you that much longer after the short has ended. This unique short comes with my highest recommendation.
Rating: 4/5
Swargam Thurakkunna Samayam
A story of a benefactor predicting the death of an elderly family member, thereby triggering a chain of events that leads to an emotional finale. This could well be the most heartbreaking finale that I was witness to in this anthology, even though this concept has been tapped into before, on celluloid. The basic nature of the screenplay here is that of a satire while also reflecting the mindset of the children in question when they would have to deal with an elderly and sick parent. The feeling of warmth is missing while the intention of serving the parent being solely out of obligation more than anything else. And this was expertly highlighted in this heartbreaking tale that left me numb by the end of it. If anything, I would have expected the pacing to be a little less sluggish but that was just a minor barter in trying to invest the viewers in this brooding world of trauma, even as the children wait to divide the property of their father who lies supposedly on his death bed. One of the reasons also why this tale hits home is because it co-starred the veteran Nedumudi Venu in probably his final appearance onscreen(and in a role that had to do with death, he had expired in 2021). Director Jayaraj expertly weaves a satire that I am sure would still hold true in today’s world while almost being retrospective in nature. Indrans shines here in an incredible performance that remains understated through and through. This short is highly recommended from my end.
Rating: 4/5
Conclusion
Manorathangal comprises of 9 hidden gems of the veteran MT Vasudevan Nair that are deeply layered and in many ways a philosophy of life. Although each of them being a niche in today’s world, it is a lovely introduction into the simplistic and poetic world of the legend, particularly in times of complexities and trauma with respect to storytelling. This series doesn’t demand a binge watch, but instead the idea is to dwell in them and ponder over each of the gems bit by bit for a rather fulfilling experience. Available on Zee5 and Highly Recommended!
