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amongxylophonesandglockenspiels · 7 years

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Bollywood Movies Part CXLIX: The Mollywood Takeover Part XIX

Abha Mathur (Priyanka Chopra) is appointed head of the police department in the Bankipur district and must fight corruption inside and outside the police department. B.N. Singh (Prakash Jha), the next ranking officer below her is in the pocket of the local politicians, brother Babloo (Manav Kaul) and Dabloo Pandey (Ninad Kamat).

Jai Gangajaal is a police movie that goes too long and has too convoluted a plot. The first half is well written and put together, but the second half falls apart. Prakash Jha is surprisingly good in his debut role, especially because he also directed the movie. Priyanka Chopra is believable and sincere in her role. Favorite songs are Tetua and Sab Dhan Maati. Neither song has subtitles.

TV dish technician Anil Anto (Prithviraj Sukumaran) and local philanthropist Darwin (Chemban Vinod Jose) become involved in each other’s lives after an incident where Anil’s wife’s, Amala’s (Chandini Sreedharan), necklace is stolen.

Darvinte Parinamam takes a long time to get to the real point of the story. Darwin’s perspective is not as well used as Anil’s and the movie suffers for it. However, it does use irony, dramatic and otherwise, to great effect. There are some fantastic comic moments, but they get bogged down by the length of the movie. Favorite songs are Kathangal Kinavil and Manjin Kurunne. Neither song has subtitles.

James (Prithviraj Sukumaran) is an artist who has been married to Alice (Vedhika) for seven years. When neither is able to pick up their daughter Isabel “Pinky” (Emine Salman) on time, cracks begin to show in their relationship. The breaking point for Alice is when James is at a work meeting when her father (Saikumar) dies. They separate, but can they fix the problems in their marriage?

James & Alice is a wonderful movie that manages to be both heartbreaking and heartwarming at the same time. The movie does drag a bit (at over 2 hours 30 minutes) and could have been edited more concisely. I did enjoy that the film wasn’t completely linear in its narrative structure. I also found all the performances perfect, especially those of Sijoy Varghese as St. Peter and Manju Pillai as Alice’s friend Rohini. Favorite songs are Mazhaye Mazhaye, Udanjuvo, and Nenchin Novil (all three songs in the movie!). None of the songs have subtitles.

#the great venture into Bollywood #becomes the great venture into malayalam cinema #because I'm watching the movies in release order and I don't have a bollywood movie between darvinte parinamam and james & alice #jai gangaajal is apparently the sequel to jha's 2003 gangaajal #so the movie mentions a gold faced Portuguese that brings the two together and some reviewers didn't understand that it was the gold ...#statue of st. anthony of padua who was portuguese #james and alice is prithviraj's and vedhika's second time working together and the first time together in malayalam #James & Alice made me cry #so many tears were shed during the end portion

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bharatiyamedia-blog · 5 years

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As Kabir Singh battles brickbats, a have a look at Malayalam cinema's latest subversion of poisonous alpha males- Leisure Information, Firstpost

http://tinyurl.com/yxdlm6xr On this 12 months’s Kumbalangi Nights, one of many primary leads Saji (Soubin Shahir), believing himself chargeable for the surprising loss of life of his good friend, is nearly on the verge of a meltdown when he turns to his little brother—”I believe I’m shedding it. I need assistance. Can you’re taking me to a health care provider?” Within the second that he confides to the Physician and sobs throughout him, we’re witnessing the overhaul of the poisonous masculinity that has been celebrated in Malayalam cinema for ages. The scene concurrently subverts one among its oldest and most profitable tropes—the highly effective, protecting elder brother. In any case, Saji is the eldest in that dysfunctional household of 4 brothers. In the identical movie, his youthful brother (Shane Nigam) proves to be a by-product of poisonous masculinity and will get enraged when he realises that he isn’t entitled to take possession of his girlfriend but. The girlfriend, in the meantime, calls out her misogynist brother-in-law who considers himself the protector and the legislation of the household. “In our household we give ladies affordable freedom” being the fixed chorus. The brother-in-law, Shammi (Fahadh Faasil), the image of an “supreme household man” who can also be casteist, snobbish and misogynist, finally ends up being the psychopathic antagonist within the movie. Kumbalangi Nights, directed by Madhu C Narayanan and written by Syam Pushkaran, not solely succeeds in overthrowing the celebrated alpha male but additionally factors out that in idea he’s the villain of the story. “However I want they hadn’t made him right into a psychopath. He truly represents the typical chauvinistic Malayalee male,” says CS Venkiteswaran, movie academician. A nonetheless from Kumbalangi Nights. Having stated that, the movie nonetheless doesn’t drift away from the bigger narrative in Malayalam cinema — exhibiting ladies as nurturers, about ladies anchoring the boys and providing them objective in life. Agrees movie critic Sreehari Nair, who says Kumbalangi Nights was additionally about “what number of sturdy, gifted, impartial ladies willingly hand over their very own character to grow to be captives of bushy brutes.” “In Kumbalangi, the reactions of these ladies within the Shammi family, the best way they virtually tense up in his presence, how they, by conditioning, cower down earlier than his masculine grandeur, is a actuality in lots of Indian and Malayali households. These reactions, I believe, are as vital to review because the character of Shammi. The reality is that quite a lot of ladies, by placing love earlier than their very own honour, carry slavishness upon themselves. I personally don’t suppose this is a component that wants ‘correction’. It merely is one among our nation’s many poetic insanities,” Nair observes. Malayalam cinema, which has been on a studying curve publish WCC and New Wave, is consciously making an attempt to rephrase the century-old conditioning layered within the basically male-centric narrative. Although Malayalam cinema has not at all times glorified the poisonous male, it can’t be discounted that standard cinema at all times gave credence to him over the feminine voice. There have been the occasional KG George (thought of one of many most interesting filmmakers of all instances) movies (1980s) with advanced women and men who fell from the excessive pedestal of morality, obtained up and continued with their lives with out being judged. Whereas the 1980s had a mix of real looking portrayal and endorsement of the poisonous male hero, it was in the direction of the mid-1990s that it grew out of hand. A lot earlier than Ranji Panicker-Ranjith-Shaji Kailas trio scripted their alpha male icons, Director Balachandra Menon (between 1979-mid 1990s) had created and popularised a story the place the best girl was somebody who bowed to her man and was not able to making large selections in the home. He made positive that every time the standard position play obtained disrupted (or every time a girl spoke towards this male-order), he introduced them again within the patriarchal order, as he believed solely that stabilised the right household. A number of of his movies rallied across the “actual man” syndrome. Maniyan Pillai Athava Maniyan Pillai has a hero who rapes a girl to reveal his masculinity, whereas Prashnam Gurutharam’s protagonist opts for suicide over residing as an impotent man. “Within the 1980s there wasn’t a lot age parity between the hero and the heroine, which helped to carry an equality within the relationship, not like post-2000. Be it Jayabharathi-Soman, Venu Nagavalli-Jalaja or Shobha. However after superstardom, the age hole between the hero and heroine drastically widened, making the creation of alpha males simpler. Now after all, we see the age hole decreasing,” observes CS. Director Padmarajan has depicted poisonous masculinity in a number of of his movies. In Kariyila Kattu Pole, we see a hero (Mammootty) raping a girl to “educate her a lesson” and to point out her “what an actual man” can do. And worse, her trauma is hardly addressed within the movie which opts to digress into the bond between the daddy and youngster. In the meantime, his 1983 movie Koodevide has an entitled misogynistic hero who results in jail for murdering the scholar of his lover. In Thoovanathumpikal, his most celebrated work, the main man, Jayakrishnan is a product of poisonous masculinity, unable to take a woman’s rejection leading to a one-night stand with a name woman. However even there, his fragile male ego makes him responsible of coveting a woman’s virginity as he believes like each patriarchal male that it defines a girl’s existence, prompting him to supply her marriage. Within the late 1990s, when heroines have been being sidelined, alpha males rose in prominence. Director Rajasenan’s standard mainstream movies that includes Jayaram had appalling plotlines woven round middle-class households. In all his celebrated movies, be it Ayalathe Adheham, Meleparambil Aan Veedu or Njangal Santhushtaranu, males steeped in patriarchy mocked, judged or introduced the “drifting ladies” again into the household. In Ayalathe Adheham, the hero is a grouchy sexist who believed that exhibiting affection or flaws earlier than his spouse would make him much less of a person. So, they find yourself demonising the one who overtly made a present about loving his spouse. Whereas Meleparambil Aan Veedu makes an announcement that society considers a girl virtuous as alongside as her unborn youngster is claimed by the daddy. The heroine in Njangal Santhushtaranu is the stereotypical trendy spouse who can’t prepare dinner or be motherly and wears trendy garments. She is named out for not being the standard obedient spouse. However the minute she “realises her errors” she wears a sari and turns into the motherly determine he needed her to be. Sathyan Anthikad made positive his heroines have been the catalyst for his heroes to know their objective in life. As soon as that’s completed, the women go into the standard gender roles. In Priyadarshan’s Mithunam, it’s once more a hero who doesn’t speak in confidence to his spouse concerning his financial points, as he both thinks she is simply too dim-witted to know him, or she would suppose much less of him as a person. Finally, she is pressured to apologise for not empathising along with his silent remedy of her. Lohithadas’s Kanmadam has a hero (Mohanlal) who thinks he can weaken a girl’s (Manju Warrier) defences with a kiss, as he feels that’s all she yearns for. However then she can also be proven as a daring, grumpy girl who’s being pressured to shoulder the accountability of her household within the absence of her brother. The overall thought being sketched is {that a} girl is happiest when a person takes care of the home and she or he performs the spouse and mom. A minimum of the hero’s motion and her response reinstate that idea. Although Malayalam cinema has had comparatively fewer romantic films, the notable ones had stalking (Vandanam, Chithram, Annayum Rasoolum) getting used as mandatory instrument for wooing. Whereas these are largely depictions, the narrative took a disturbing flip by the late 1990s and early-mid 2000 when superstars (Mammootty and Mohanlal) have been crafted as demi-god alpha males and their heroines the place diminished to arm sweet. They adhered extra to hegemonic and hyper masculinity. There was Renji Panicker, who created heroes who at all times judged the “trendy lipstick sporting girl with a thoughts of her personal,” gave them a category on self-discipline, traditions, and household. After which there was writer-director Ranjith who made positive he created ladies who prostrated earlier than their main males and eagerly jumped at their flippant, sexist marriage proposals. In all these narratives, a person’s value is at all times weighed on the paternity scale — “If you’re born of a single father, carry it on,” is the ISI mark of heroism in Malayalam cinema. Dileep movies endorsed misogyny and sexism within the guise of household entertainers, passing off crude humour concentrating on ladies in each movie. As soon as the development of alpha male superstars began to say no (although this 12 months, one of many greatest hits is a celebrity glorification car known as Lucifer), the New Wave set in. That and social media collectively prompted the emergence of girls writers in movie criticism and the formation of WCC. Conversations started on ladies’s illustration and misogyny in older Malayalam movies, leading to extra insightful discussions. Political correctness was thought of as essential to a movie’s acceptability because the story, medium and method. The change is clear in latest instances, when audiences are woke in the direction of misogyny, racism, and casteism being glorified on display screen. A nonetheless from Varathan. The result’s the likes of Varathan and Ishq. In final 12 months’s Amal Neerad directed Varathan, the hero is a metrosexual, the subversion of poisonous masculinity. He’s mild, type, giving, and doesn’t react to conditions like how society perceives a person ought to. He’s additionally susceptible, emotional, and compassionate, traits typically seen as weaknesses in a person. Of their marriage, he makes no fuss about being helpful within the kitchen or in not being the salaried associate. “It’s an fascinating depiction, however his climactic transformation is that of a celebrity’s, which I believe was deliberate,” says CS. Whereas director Anuraj Manohar’s Ishq has a extra advanced layering. It’s a few younger couple who tries to rescue themselves from the clutches of a creep who harasses them within the garb of ethical policing. However as soon as the issues tide over and the vengeance has been extracted, comes the reality concerning the hero. It’s solely when he’s reassured that the villain didn’t contact his girlfriend that he decides to stroll again into her life. He endorses machismo and has all of the particular traits of a poisonous male who thinks his manliness has been mocked and challenged when he couldn’t “shield and defend” his girlfriend. It’s that alone which makes him plot a revenge plan that goes utterly towards his character. However in the long run when that façade falls in entrance of her, it’s heartening to observe her take a stand. Between all that is the baffling indisputable fact that Arjun Reddy, the 2017 Telugu movie which has been remade in Hindi as Kabir Singh (and is at the moment operating in theatres) which in flip has been aggressively slammed by North Indian movie critics for its blunt glorification of poisonous masculinity was effectively acquired in Kerala. Shahid Kapoor in a nonetheless from Kabir Singh. YouTube Most likely we should always simply take coronary heart in the truth that Malayalam cinema and a piece of the discerning viewers has although belatedly acknowledged poisonous masculinity and the dangerous, abusive methods it’s reared its head, the conversations are in full swing. The change may even be effectively on its means. 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