Banner : AVA Productions
Director : Ranjith
Producer : Subair
Cinematography : Vijay Shankar
Story: T.P Rajeevan Screenplay, Dialouge: Ranjith
Music : Sarath, Bijibal
Distribution : Varnachithra Release
Release : 2009 December 10
Starring : Mammootty, Gowri Munjal, Swetha Menon, Mythili, Sreenivasan, Siddique, T Damodaran
After directing some good films like Thirakkatha and Kaiyoppu, and conceiving a world class project like ‘Kerala Café’, Ranjith is back with yet another film with a niche subject titled ‘Paleri Manickam:Oru Pathira Kolapathakathinte Katha’. A movie that hardly have any prototype in India, this extremely rare kind of movie is structured to be an intriguing, textured, moody and exceedingly well crafted suspense drama.
The movie that thrills and amuse a learned audience also showcase the passion for intense acting of its superstar lead actor Mammootty, and off course, a bunch of freshers and theater artists who debut through the film. Easily providing what the serious fans of the quirky actor had requested, the movie also succeeds in preserving the quintessential Mammootty in another role.
The movie with a narrative that spans for around fifty years, have a fable like tenderness that runs through the whole narratives. Based on writer T P Rajeevan’s celebrated novel, this investigative thriller (a closest of the name of the genre, that we can attribute) has Mammootty as Haridas, a Delhi based private detective who with his closest friend Sarayu (Gowri Munjal) comes to Palery to clear off the mystery behind the murder of Manickam (Mythili), that happened in 1957. Apart from being the first organised murder of a woman in newly formed state of Kerala, it also had certain links with the investigator, which if unveiled now will act as a spoilsport.
Maanikyam was killed on the eleventh day of her marriage with Pokkan, the only dumb son of Cheeru. (Swetha Menon). Major suspicion fell on Murikkumkunnath Ahamed Haji (Mammootty again) a rich, landlord who ruled the area with the help of locally powerful communists and his henchmen. A staunch womanizer who hardly cared for anyone's emotions, Haji was cruel to his poor peasants who worked for him. Haridas who ran far and wide assembling parts of the whole incident, still finds that some curious missing links were still there to fill the actual story.
The movie is narrated through the viewpoint of Haridas. There are many turns in this carefully laid out mature narratives that emerge in subtle fashion, as the film progresses smoothly, even if a tad slowly in the middle. Interspersed with flashbacks depicting periodic backdrops, the film is languorously paced but is still gripping, with some good writing and superb, sharp dialogues from Renjith. Some of the lines, especially the ones mouthed by the Haji are extremely witty and elicit chuckles.
The other highlights of the movie are the awesome and neatly framed cinematography by Manoj Pillai capturing the greenery and brownish tones of the period. The historical recreation by Murugan Kattakada creates a whole world of its own and gives the film much of its great character. The background score by Biji Pal and Sarath, the off repeated title song of the movie and seamless editing by Vijay Shankar are also perfectly complement to the mood of the film.
Mammootty shines in what is another brave acting choice by the veteran actor, who gives a meticulous appearance in all the characters that he depicts in the flick. After some good work in ‘Pazhassi Raja’ this film allows Mammootty to truly come into his own strengths. Restrained, real and totally in the skin of his various characters, the movie will be showcased in his list of the bests. Swetha Menon as Cheeru also display the immense talent of the actress who was mostly seen as a glamour gal in the industry, till recently. A bunch of fresh faces act their heart out in most of the scenes, though very few shots still shows their inclination into dramatic proceedings. Mythily and Gowri Munjal appear pretty and just remain to the demands of their roles.
After ‘Pazhassi Raj
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