Weak plot; intense moments
Kasthoorimaan
(Malayalam)
Starring: Kunchacko Boban, Shammi Thilakan, Meera Jasmine, Sona Nair
Lyrics: Kaithapram, Lohitadas
Music: Ouseppachan
Cinematography: Venu
Editing: Raja Mohammed
Script, direction: Lohitadas
(Showing at theatres in the UAE)
BRILLIANT characterisation, memorable performances, and hummable music — Kasthoorimaan, Lohitadas' directorial venture, has many pluses. Yet if the film fails to win over crowds to recreate the successful run of many recent Malayalam films, the reason is rather obvious.
For one, the film reached theatres some 86 days late: Kamal's Nammal had by then earned a place as a fanciful celluloid dream of campus as a playful place. Lohitadas pans his camera into the campus for the first half of Kasthoorimaan but he is rather out of sync with the pulse of the 17-somethings, so he resorts to cliches that include among others a loveable priest, an easily-duped principal and let's-break-into-a-chorus-dance simplistic rituals.
And when the film gathers steam in the second half, the story-line is all too worn-out. Sacrifice, rejection, sheer villainy — the three elements that propel the film post-interval have been used to desirable effects in many earlier productions. Yes, by Lohitadas himself.
These, however, are not in anyway to underrate some truly excellent cinematic moments that Lohitadas stamps self-assuredly in Kasthoorimaan. Treading between the thin line of reality bites and melodrama, Lohitadas emerges a winner in capturing what he knows best: Rustic moorings.
So, whatever the reason, the characters that leave lasting impressions are not the protagonists but some supporting roles like a vitriolic mother-in-law, a brutal policeman, and well, even a little girl, who can do nothing but cry and watch helplessly as her mother is beaten up by her father. Roles enacted by untested, and often under-rated artistes, — some from television, others including Shammi Thilakan — are so powerful it gives the film a sense of stark reality, which can be discomforting too.
Priyamvada (Meera Jasmine) and Sajan Joseph Alukka (the name, a clever excuse to bring in one of UAE's prominent Malayali businessmen, Joy Alukkas, on screen; playing himself, Alukkas is self-assured. But is Malayalam cinema finally openly opting for product endorsements what with sales pitches tossed in aplenty?) played by Kunchacko Boban are college-mates. There is no reason why a studious, no-nonsense MA Philosophy student should go on a "Nature Study Tour" with a IBA Economics girl, talkative and loud to boot, but then how else do directors deliver their 'One plus one, two is love' kind of songs?
Priya irritates Sajan on many counts, and also comes to learn that he has a fair share of family burden. As for the audience, unlike Sajan, they would be hardly surprised to discover that the flamboyant Priya supports her studies by working as a domestic help. She has more painful stories back home including an immoral brother-in-law (Shammi Thilakan).
Sajan aspires to be an IAS officer, and Priya funds his 3-month IAS coaching endeavour, a little far-fetched from reality. He triumphs but there is more heart-ache in store.
How will Lohitadas untangle the complicated web he tries to create? That forms the rest of the film, which has explosive moments packed all too closely in the last few reels. Sadly though, they are rather too simplistic to be perfect and heart-touching.
Kunchacko Boban puts in a restrained performance, and he truly impresses in some frames. Meera Jasmine has been given a role of a lifetime on a platter by her mentor Lohitadas. The performance is good on the whole but grating, immature, adequate and brilliant in parts. Shammi Thilakan is terrific. K Leela as his mother is brilliant; she is so real-life.
Kasthoorimaan breaks into a song for no particular reason all to often. Understandable if Lohitadas had a penchant for spectacular picturisation of songs. You could easily walk out off them and you won't miss a thing, which is the kind of situation directors like Priyadarshan have been working for long to avoid.
Venu's camerawork is impressive, especially as he cans the country life. But somehow the magic of the campus is lacking in the first half. The auditorium shots, for example, seem so cloistered they look amateurish.
Kasthoorimaan is viewable, and at times impressive, but definitely not the master-piece of Lohitadas. Youth and its fanfare do not seem to be his turf though the bittersweetness of human relationships most certainly is.
