Malayalam Film Reviews
Mohan
Lal
in
and
as
Narasimham
(looking
at
the
early
part
of
the
film
and
the
introductory
scene
one
gets
the
feeling
that
Lal
has
been
projected
as
more
of
a
Simham
than
a
Naran
at
least
in
the
film).
Directed
by
Shaji
Kailas
and
penned
by
Ranjit,
the
same
team
of
Aaran
Thampuran.
Mohan
Lal
is
sentenced
to
six
years
of
imprisonment
for
a
crime
he
has
not
committed.
When
he
comes
out
he
has
hatred
for
his
father
(Thilakan)
for
not
having
believed
his
son
as
innocent
and
wants
revenge
against
his
wrong
doers
(N.Varghese).
Thilakan
has
an
illegitimate
daughter,
Kanaka
whom
he
refuses
to
accept
but
Mohan
Lal
does.
Kanaka
is
murdered
and
the
blame
comes
on
Thilakan.
To
save
his
father
Mohan
Lal
brings
his
classmate
Mamootty
who
manages
to
save
Thilakan.
Thilakan
understands
the
worth
of
his
son
and
in
a
poignant
scene
even
expresses
his
love
for
Mohan
Lal
and
breathes
his
last.
In
a
climax
fight
Lal
inflicts
maximum
injury
on
his
enemies
and
steps
forward
in
search
of
a
peaceful
life
–
together
with
his
girl,
Aishwarya.
Ice
is
given
a
small
role
but
she
looks
really
sweet
in
that.
Some
scenes
and
the
way
Mohan
Lal
is
introduced
in
the
film
would
put
even
Rajnikanth
to
shame.
In
being
able
to
convince
the
audience
in
any
role
lies
the
success
of
and
actor
or
actress
and
Mohan
Lal
succeeds
in
that.
The
film
has
been
running
to
packed
houses
in
Kerala
and
is
already
brolken
box-office
records.
Shaji
and
Lal
seem
to
have
made
a
habit
of
it.
A
typical
outright
commercial
film
raised
to
more
than
ordinary
levels
by
the
team
of
Shaji-Ranjith-Lal.
Vanaprastham, the last dance. Mohan Lal avathiripikkunna oru Malayala chalachitram(so the titles say). Mohan Lal plays a Kathakali artiste, Kunjikuttan whose life off stage is a disaster with poverty and the unknown identity of his father tormenting him the most. On stage, however he’s more fortunate. He achieves success and applause playing the role of Arjuna. He also earns the admiration of Suhasini, a lover of literature whose hero is the hero(?) of the Mahabaratha. The relationship turns physical. But when he appears in front of her sans the makeup of Arjuna she turns him away even without wanting to have a look at him. She gives birth to a son but Mohan Lal is refused even a look at his son. The Kathakali artiste is dejected and gives vent to his emotions through his art. His final solace comes in the form of his daughter who learns Kathakali and plays the role of Subadra opposite her father as he wished. And so ends the last dance…. Mohan Lal is more restrained than usual but his emotions are loud and clear when he dons the Kathakali makeup. Mohan Lal has the uncanny knack of convincing the audience that he knows what he is doing whether he’s singing or playing the violin. Vanaprastham shall be another landmark film in the career of this illustrious and natural actor. Everything an actor needs comes naturally to him. Music is by Zakir Hussain .
Jayaram is daivathinte makan – is it because he grows up in a Christian orphanage or because he sings choir songs or because he acts the savior to a girl? Pooja Batra is in love with Jayaram but he does not reciprocate initially well aware that a “not-well-to-do” orphan cannot be a match for a rich, well-educated girl. But that does not dampen her spirits and she’s hell-bent on marrying Jayaram. Everyone agrees to the marriage and things are fine until a girl comes to Jayaram wanting him to save her from the clutches of her husband. He does not manage and soon finds her in the mental asylum. He finds out that the person after her is not her husband and he promises to protect her. However this misleads Pooja and her family into thinking that they are in love. He saves her from the don and when the real lover of the girl comes she unites with him making it a happy ending altogether. Jayaram is brilliant in the film giving glimpses of his mimicry talent. Jagathy and Kalabhavan Mani as the duo providing comedy is fun to watch. Entertaining film, worth a watch.