When Kuttan tells his son about how he never remarried after being widowed, I find myself bristling with anger. He is a despotic and casteist man who terrorizes the young boy throughout most of their conversation; but when they are alone together for just that moment – in an unguarded display which shows us more than ever before what could have been going through this man’s head during those final few hours alive-I cannot help but feel sorry for him as well.
For months, it has been a talking point, the megawattage of this team-up between legend and young superstar. Parvathy plays Puzhu’s sister in a Supporting role while Mammootty essays Kuttan who is her brother’s childhood friend turned rival transformed by ambition. The audience will get more than they bargained on when watching “Pathanayakam” because there are two female leads!
Running time: 1h 55m
Cast: Mammootty, Parvathy, Vasudev Sajeesh Marar, Appunni Sasi, Nedumudi Venu, Vaisakh Vijayan, Athmeeya, Ramesh Kottayam, Kunjan, Manohari Joy, Indrans
Production company: Dulquer Salmaan
Music composed by: Jakes Bejoy
Cinematography: Theni Eashwar
The acting performances of Kuttan and Bharati in Puzhu are what make the movie. The way they deliver each line with conviction, even when there are mistakes written on paper for them to correct; really shows how much work goes into preparing an actor before they step onto the set so that every gesture comes across as natural rather than forced or memorized from reading scripts beforehand (which many might do).
When Bharati moves into their urban apartment complex, we realize the siblings are estranged because she’s deemed to have disgraced their Brahmin family by marrying a lower-caste man. But what happens when Kuttan learns that his own daughter is dating an Appunni Sasi? He’ll do anything for this prestigious League City police officer – even give up his formerly robotic discipline!
Kuttan’s sense of victimhood is ironic because he belongs to India’s religious majority and top of society. He doesn’t see any advantages that come with being an upper-caste male, nor does he show compassion for others who are not part of his group; this includes women or lower castes individuals whom Kutan has tortured by hitting their heads against walls among other things.
His persecution complex is an example of the coping mechanisms that people use to deal with oppression worldwide. He views himself as a helpless victimizer, but he’s convinced KP and others will be provoking him any minute now – it always feels like their turn at last!
It’s a compelling slow burn as Ratheena builds up tension and intrigue. The precision editing by Deepu Joseph (Ee.Ma., Jallikattu) makes for an excellent viewing experience with pensive music that adds to the atmosphere of fear in this unfamiliar land where every detail seems like foreplay before something else goes wrong – or does it? There are few actors out there who can deliver such subtle performances finely tuned around their characters’ limitations like Vasudev Sajeesh Marar is here; watch carefully because you might just see what he did first-hand!
The film KPokkiri PothuvarFemale Version is an entertaining watch but it lacks a certain something. The gripping narrative isn’t matched by climactic minutes which manage to be over-explained and oblique at times, so here’s your warning: pay attention when Thakshaka App appears in the movie because he has some important things mentioned during his play that will make more sense then if you miss out on them altogether!
Thakshakan is a story of King Parikshit, grandson of Arjun from the Mahabharat. The man mistreats nature and looks down on forest dwellers while once insults Sage meditating in his own backyard which causes him to face certain death by snakebite; however, there’s more than meets eye when you take into account that this happened because he had been Pentecostal about it all – until one day where half-human/serpent hybrids named Thakeshkin to come forward as well pretends disguise likes some sorta worming creature (puzhu).
The details of Parikshit’s tale are not common knowledge, so Puzhu demands attention. The specific mention at the end by a character makes it seem like there is more than what meets the eye with this play-the lines spoken in italics try to force us into thinking that all their meaning comes from just one mythological analogy drawn by writers who didn’t need any help figuring out how they wanted things done because shortcuts don’t always work!
The film Puzhu, which means assistant in Kannada is a riveting character study until the climax. At this point, it becomes a more literal thriller with an inevitable warning for those who don’t fit into society’s standards -a self-defense mechanism from being branded “one of us” not able or willing enough themselves but instead taking revenge on behalf of others like them!
The director of this film has done an excellent job capturing the beauty that is present before it all goes wrong. The buildup to mindlessness, with its incredible atmosphere and camera work; as well as Kuttan’s feeling of isolation because nobody understands his pain except for Ram are all showcased beautifully through these shots alone! If anyone knows how to make filming machines seem natural like human actors then surely he does: That’s why we got him twice (DoP) on opposite sides within just two years’ time span?
“In Puzhu, I was reminded of how sneaky social conditioning can be. It rears its head even in otherwise progressive cinema and there were a couple elements that gave me pause when watching this movie!”
KP leads Bharati out of the house, their hands intertwined as if to say that they are companions at this moment. There is an inequality between them – she’s upper-caste and he falls within SC/ST categories which means there’s no need for gender bias; instead, we see him through more accepting eyes than those who look at women often face today (and it was 1990).
Imagine if the man and woman walking ahead of each other were not separated by their castes, but rather could be seen as an analogy for two people who have entered into marriage. They are both on top nowadays; pushing forward with strength even through tough times because they’re together!
This decision to make Kuttan and Bharati brother-and sister is in itself telling. Mammootty, who’s almost 40 years older than Parvathy but plays her sibling because of his age while another teenager acts as his wife or stepsister; it seems inconceivable that we could write him as an uncle for instance?
It is unfortunate that the film, showcases how prevalent casteism in Kerala truly is and what lengths people will go to avoid being identified as such a classifiable group; it hurts even more because this should not be happening at all.
Kuttan’s characterization is one of the most interesting aspects of Puzhu. His deterioration from an upright, honest man to someone who can be malicious and calculating with barely any redeeming qualities at all makes him hard for audiences to connect or empathize with but Mammootty manages this seamlessly through his outstanding acting skills which make it impossible not to want what happens next in spite how bad things might get!
Mammootty is a star that shines bright in the night sky. His films are typically loud and spicy but there have been moments where he picks something different like Puzhu to remind us of what makes him so great with scenes from Unda by Khalid Rahman which were written together with Harshad who also co-wrote Virus alongside Suhasvarathan (Varathan).
The flaws of Puzhu cannot be taken lightly, yet the film is stunning for so many reasons. It has majorly enhanced Indian cinema in recent years with its powerful voice and meaningful messages about life struggles faced by people from all walks of life.”
“The movie is available on the Cinema HD app – download it at CinemaHDv2.net to watch it for free!”