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Malayalam

Prithviraj shines in captivating survival tale “The Goat Life”: Movie Review

Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio.

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In Aadujeevitham, you won’t find Prithviraj the superstar. Thanks to the real Najeeb’s involvement during the movie promotions, you can see the actor effectively portraying the character based on the real-life story.

Adapted from Benyamin’s book, Blessy’s direction offers a dystopian portrayal of migrant life in the Middle East. Najeeb mortgages his property to secure a visa for the Gulf. The narrative intricately depicts Najeeb’s departure from lush Kerala in search of better prospects for his family. However, upon arrival in Saudi Arabia, Najeeb and his friend Hakim fall into the hands of the wrong Arab sponsor, leading them to separate desert camps to herd goats.

The first half of the film skillfully contrasts life in Kerala with the harsh reality of the desert, where Najeeb endures a torturous existence with scarce provisions. The portrayal suggests that even the animals are kinder than the masters. Viewers empathize with Najeeb’s plight and the ironic trauma he faces in pursuit of a better life.

As days of suffering blur into each other, Najeeb unexpectedly reunites with Hakim, raising a glimmer of hope for escape with the help of an African laborer, Ibrahim Qadri. The remainder of the story revolves around their quest for safety. However, the second half falls slightly short due to pacing issues and the director’s inclination towards gimmicks, detracting from the narrative’s overall impact.

Najeeb went to the Gulf to give his family in Kerala a better life, but he found himself facing the harsh truths of work there.

Prithviraj’s performance as Najeeb is commendable, capturing the character’s profound sense of displacement and vulnerability. His physical transformation and nuanced portrayal evoke empathy from the audience.

The cinematography by Sunil KS and KU Mohanan elevates the film, capturing the stark beauty of the desert and enhancing the emotional depth of the narrative. AR Rahman’s soulful music further enriches the viewing experience.

While Aadujeevitham lacks the emotional resonance of recent Malayalam hits like Manjummel Boys and Premalu, it remains a compelling tale of resilience. Audiences are sure to be moved by Prithviraj’s portrayal and the film’s realistic depiction of one man’s struggle for survival.

Malayalam

“Pavi Caretaker”: Dileep Delivers a Classic Comedy

The question of whether the mystery woman sharing Pavi’s accommodation, and appearing only when he is on duty, will become the love of his life hangs in suspense, adding an intriguing layer to the narrative.

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“Pavi Caretaker” follows the typical Dileep formula, blending slapstick humor, heartfelt emotions, romance, and action reminiscent of 90s movies, catering to the so-called family entertainment genre. However, Dileep’s character now includes a couple of pro-women dialogues, advocating for girls to complete their education and secure a job before marriage.

The story revolves around Pavi, a bachelor caretaker who doubles as the night security of a prestigious apartment. While the narrative could have explored the lives of various residents in the building, it primarily focuses on bringing romance into Pavi’s life.

“The movie embodies the quintessential Dileep style, serving as a platform for slapstick humor, heartfelt emotions, romantic interludes, and action sequences reminiscent of 90s cinema.”

As Pavi interacts with different women, including his roommate arranged by his landlady, the film introduces sweet and poignant moments alongside unmistakable Dileep-style comedic situations. However, at over 150 minutes, the film feels stretched, with a slow-paced first half and incomplete subplots of other residents.

Despite these drawbacks, Dileep delivers his usual charming performance, blending emotional depth with comedic flair, likely appealing to family audiences. However, the film’s one-sided narrative and lack of nuanced storytelling may leave some viewers wanting more.

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Malayalam

Review of “Jai Ganesh”: A stumbling script hampers the film’s potential.

Ganesh, who relies on a wheelchair for mobility, must utilize his talents as an illustrator and hacker to unravel an investigation into a kidnapping.

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One positive aspect of “Jai Ganesh” is its absence of overt right-wing themes, which many had anticipated. However, the film overall suffers from a lackluster script by writer-director Ranjith Sankar, known for his works like “Passenger,” “Arjunan Sakshi,” “Varsham,” “Ramantte Edanthottam,” and “4 Years.”

In the film, Unni Mukundan portrays Ganesh, a media illustrator who doubles as an online detective, drawing inspiration from real-life events for his comic series, “Jai Ganesh.” Following an accident that leaves him paralyzed, Ganesh grapples with self-pity, feeling marginalized by everyday occurrences, such as his roommates dancing or casual remarks about his disability.

His only confidant is a young boy whose father, a corrupt politician, is estranged from him. The narrative revolves around a kidnapping motivated by revenge rather than ransom, with Ganesh employing his skills as an illustrator and hacker to crack the case.

Ganesh, who relies on a wheelchair for mobility, must utilize his talents as an illustrator and hacker to unravel an investigation into a kidnapping.

Ranjith Sankar’s script is marred by various inconsistencies, particularly the sloppy handling of the kidnapping plot, which undermines the film’s credibility. The police investigation, depicted in the latter half, feels disjointed and confusing, leaving viewers puzzled as the story approaches its climax.

Unni Mukundan’s portrayal comes across as melodramatic, lacking the gravitas needed for a character you can rally behind. A scene with his father, played by Ashokan, highlights the contrast in their emotive performances. Mahima Nambiar’s character, initially integral to the plot, gradually loses significance, appearing as little more than a peripheral figure.

Despite its shortcomings, “Jai Ganesh” may find appeal among younger audiences and families, offering a glimpse into a unique friendship and the resilience to overcome adversity.

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Malayalam

“Aavesham”: Fahadh and Sajin Gopu shine in hilarious gangster comedy.

Three engineering college freshmen devise a plan to seek revenge on their seniors who have subjected them to ragging. Their strategy involves enlisting the help of a gangster. However, right from the outset, it becomes apparent that their plan is fraught with complications.

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Just when you think Fahadh Faasil, affectionately known as FaFa, has portrayed some of the best characters in his career, he dazzles us with his portrayal of Ranga in writer-director Jithu Madhavan’s quirky gangster film, “Aavesham.”

When three Malayali students enroll in an engineering college in Bengaluru and endure severe ragging, they hatch a plan for revenge with the help of local gangs. Their quest leads them to Ranga anna, a gangster with considerable influence and manpower.

Despite initial uncertainty about Ranga’s intimidating reputation, the students grow fond of him, relishing his extravagant hospitality. However, their association with Ranga leads to unintended consequences, including a rebellious reputation at college and academic failure.

As they attempt to distance themselves from Ranga’s influence and focus on their studies, the trio faces challenges and uncertainties. Will they successfully extricate themselves from Ranga’s network and regain control of their lives?

“Three engineering college freshmen devise a plan to seek revenge on their seniors who have subjected them to ragging. Their strategy involves enlisting the help of a gangster. However, right from the outset, it becomes apparent that their plan is fraught with complications.”

Jithu Madhavan skillfully crafts side characters and imbues the dialogue with impeccable comedic timing, brilliantly executed by Fahadh Faasil and Sajin Gopu. Their chemistry is a highlight of the film, providing ample laughs. Supporting actors also deliver commendable performances.

At nearly 150 minutes, the second half of the film feels overly prolonged and could benefit from tighter editing. It’s noteworthy that recent successful films like “Manjummel Boys,” “Bramayugom,” “Varshangalkku Shesham,” and “Aavesham” lack significant female characters, highlighting a trend in Malayalam cinema.

The cinematography by Sameer Thahir, editing by Vivek Harshan, and music by Sushin Shyam contribute to the film’s unique atmosphere. Special mention goes to costume designer Mashar Hamsa for creating FaFa’s iconic look, which becomes a point of contention with a rival gangster.

Jithu Madhavan has once again demonstrated his ability to create unconventional and stylish cinema, following his debut horror film, “Romancham.” “Aavesham” stands out as another distinctively entertaining comedy from his repertoire.

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