Mammootty extends olive branch to Thilakan

Mammootty tried to make peace with Thilakan by saying he never called for a ban on the veteran actor in the industry and is willing to work with him.

Thilakan is in dispute with various film workers' organisations, including the AMMA, for his utterances against some superstars and select directors.

He replied to a show-cause notice from the AMMA, saying he has done no wrong and the question of an apology does not arise. The dispute led to a public slugfest with both sides taking a dig at each other. Noted critic Sukumar Azhikode slammed superstars Mammootty and Mohanlal and asked them to stop acting and endorsing jewellery brands.

Azhikode said the two superstars should call it a day and remarked that if both of them come without make up, many people will faint.

To this AMMA president and comic actor Innocent retorted that if Azhikode is to endorse jewellery brands then people who buy it will return them.

Mammootty's Pramaani and ipl

The state which is reeling over forty degrees Celsius seems to be a big woe of the month for Mollywood. The sunburn and intense heat wave all over the state has limited the incomings to the theatres for viewing cinema .Moreover, the cricket and IPL heat has taken the rest of the viewers in almost all UFO theatres of the state which are screening the cricket in the evenings. Add to that, the current issues including Thilakan, this March seems to be one of the worst months for movies, in recent years.

This March already had some small releases which all are faring too bad at the box office. And some bigger movies are expected including Mammootty's Pramaani, Prithvi's 'Thanthonni', Indrajith's Nayakan and Lal's 'In Ghost House Inn'. All these films carry good pre-publicity and preview reports and with the arrival of these films in theatres, there will be a real battle for viewers between the passion for cricket and that for cinema.

Mammootty's Big B in Telugu

Megastar Mammootty's most stylish movie ‘Big B’ will have a Telugu release by next week. The movie which will be presented in the same name, will be a dubbed version of the sensational hit.

The movie features Mamtha Mohandas, Nafisa Ali, Pashupathy and Sherveer Vakil who are also known names in Telugu. Directed by Amal Neerad, the movie is presented in Telugu by Sri Varalakshmi Productions.

Drona Movie Review

Drona ,the most awaiting movie of Superstar Mammootty. The movie just average and its stories is not acceptable.It has to be accepted that Drona is one of the best attempts by Shaji Kailas in recent times. This is unlikely to work in the film's favor though, because the last few of his cinematic outings have been anything but comparable. But the director who had flashed those sparks of brilliance some years back, and who had since disappeared into the shadows is out again in Drona. The film accentuates that all is not lost and the man still has got it in him.

What is it then, that works against this film? It is a real slow starter for one, and it's quite some time before things get gripping. Even then, the kicks that it delivers are not strong enough, and there is always a sense of something seriously lacking throughout. Soon it becomes pretty evident that what is missing is a passion that sometimes makes even the most mediocre of works appear outstanding.

When it comes to the account, there are some grave lapses in continuity that absolutely flusters the viewers. The flashbacks are in abundance and are arranged in a slapdash style, and with the present and past continually intertwining, the logical string that binds them all together eventually gets severed.

Singly though, the past almost appears out of the world in Drona, and Shaji has crafted the scenes with elegance. Thankfully those technical ploys that had almost become a trademark in his films are kept to the minimum here. Ekambaram's camera slithers around like a snake, never letting spookiness out of sight. And of course Don Maax too, who with his slick editing ensures that murder and mayhem could look modish as well.

A K Sajan juggles between a gory tale of revenge and a mystic story that brims over with vedic chants and black magic. It's here that the film loses its grip; there are too many of those crooks and their henchmen to tackle and a screaming ghost to boot. It appears a bit overblown after a while, even as the script goes on with its sermons on Vastu and the mantras and the divine laws of justice. Ultimately Drona is neither the horror caper that it seeks to be nor the action thriller that sends those flickers of excitement flying. The story fails, and massively so.

There is simply no beating Mammootty as Pattazhi Madhavan; garbed in saffron dhotis and long flowing kurtas with solid Rudraksha beads strung around his neck, this strapping sage has the might to burn you down with an intense gaze. Clout is not all about muscles, the actor reiterates.

There are equally competent thespians on the other side as well; Thilakan and Manoj K Jayan match up the lead actor's performance with impressive feats of their own. And last but very certainly not the least, Dhanya Mary Varghese in a special cameo turns out to be the most gorgeous blood thirsty spirit to have roamed around on screen.

Whether you like Drona or not depends a lot on what you look forward to, on your thriller night-out. The film sags down to tedium by the final reel, and by then its too late for a reversal of its (mis)fortunes. Most of the errors that it commits are fatal, and most of its flaws terminal.

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Paleri Manickam Movie Review

Language : Malayalam
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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