A still ‘Narayanente MoonnaMakkal’
Everything inNarayanente MoonnaMakkalIt is marked by the quality of not so common restriction. It is something that scores the conversations, as well as the Appu Prabhakar camera movements and the approach of the director Sharan Venufopal to the material. That restriction, which is maintained at all times, is remarkable for what is said in the film, emotional and heavy problems that could easily slide into the very familiar treatment.
Therefore, it is a film that also remains away from the great event. Rather, he relies on his well -chosen characters to achieve memorable moments that reveal his most internal feelings. This also means that the film is not enough, but director Sharan Venufopal, who also wrote the film, seems to be happy to stay in this space to discover its innumerable tones.
The environment has much in common with AALKKOTTATHIL THANIYE(1984), written by Mtvasudevan Nair and directed by IVsasi, with the three children of Narayani gathered with their families after a long time in the ancestral house while she is on her deathbed. At first, we have the feeling that there is some bad blood among older brother Vishwanathan (Ancier Lay López) and Bhaskar (Suraj Venjaramood), the youngest, who returns home after decades. Sethu (Joju George), the medium, considered a loser by the other two, seems to be the most sensible of the three.
Narayanente MoonnaMakkal (Malayalam)
Director: Sharan Venufopal
Cast: Joju George, Suraj Venjaamood, Ancier Lay López, Garggi Ananthan, Shelly Kishore
Execution time: 117 minutes
History: While his mother is on the deathbed, three brothers, who have been separated for a long time, join in the ancestral house, bringing memories and conflicts
But the film sees the family mainly through the eyes of the youngest generation: Athira (Garggi Ananthan) and his cousin Nikhil (Thomas Mathew), who tries to make sense of tensions over low heat inside the family, at the same time that fights with its own limits without limits. past feelings and traumas. The film also depends on them to build their slight conflict, which can cause conflicting reactions of the audience depending on the way they look at it. But the screenwriter handles the situation in a somewhat expert way by turning it into a soft call for a better understanding among humans, a call that stands out especially adults in the film.
As more young filmmakers do these days, Sharan, even while criticizing, has a vision that is not judged by the defective characters, with an understanding of the social context in which they grew. Vishwanathan, who still has the pain of the casteistas insults that a neighbor addressed to his father, in another context reveals his regressive and community face. But, in another scene, we have a more rounded sense of man through the words of his daughter and his act of passing a dish at the table to a character that apparently despises. Then we see someone who tries to free themselves from their rooted intolerance, but it is not very successful in it, especially when anger feels better.
Garggi Ananthan together with Joju George manages to contribute a feeling of depth to the characters through their performances, which keeps the key in a movie not so dialogue. Most other actors bring to the table what was required of them.
In Narayanente MoonnaMakkalSharan Venufopal reaches the optimal point between saying everything to say and maintain a little without saying it. And that makes all the difference.
Narayanente MoonnaanMakkal is currently running in theaters
Published – February 8, 2025 12:16 pm ist
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