Home is a tale of a family we have seen or maybe one we are living in. He is also an old man wanting to learn the new technology, precisely smart phone. Now, Oliver, whom Antony sees like an average Joe good for nothing, has to become his son’s friend. Of course, he has a soft corner too, but the arrogant side overpowers. Eldest Antony, a budding filmmaker is arrogant, and an outright toxic man, only spitting negativity because he has problems going on in his personal life. Youngest son Charles (Nalsen), clever for his own good, is a lazy chap but still close to parents. The perspective throughout is his and how he sees his ecosystem in a mansion unfold around him. So Rojin makes Oliver Twist, the father, aka Papa, the hero of his story. He almost does all the chores with his wife without complaining. Written by Rojin Thomas, the story is set in a house lavish enough to accommodate a joint family.
Home, in its primary conflict, acknowledges this very argument and what it does to people who have a lot to learn about the modern world yet. The dynamic that children and their parents share even more. The definition of family over the years has changed drastically.
Positive malayam movie movie#
A Still From Movie Home Movie Review: Script Analysis
Get on board for this journey is heart breaks and Self-realisation come out of it with a smile. Technically challenged Oliver Twist (Indrans) is father to two such boys who are now grown up and navigating their route in their respective lives but forget to acknowledge their father who is a silent giver, but never glorifies his victories. Even the movie's resolution has done nothing to empower women, instead it's all about the Kaaval aka Thampan.Children grow up but for their parents they are always the munchkins they one day brought home. In this Nithin directorial, women are an object for sex, procreation, and protected only when there is a "macho" man around. However, the problem with such movies is giving a message. It suffices to say that Kaaval takes us back to the hero-centric movies of the 90s and early 2000s. Nikhil S Praveen creates a canvas fitting for each situation be it the sepia-coloured frames for Thampan's recollection of the past or the use of dark and bleak shades when tragedy strikes.The music does a decent job in weaving the narrative together and giving the necessary effect during punch dialogues. Visually, the movie takes you on a journey. And like many movies in the genre, there is also a disdain for authority and an air of anarchy in the movie. The narration too will take you back to movies like Lelam, which gained immense popularity due to Renji Panicker's whistle-inducing dialogues and Gopi's electric performances. Nithin's admiration for the tone of Suresh Gopi movies (written by Renji Panicker) is obvious in Kaaval with dialogues very much reminiscent of the kind that made Gopi popular.
Rivaling and complementing his performance is Renji Panicker, taking up shades we were yet to see the actor take up. Gopi has emulated the role of a protector convincingly since his first scene in the movie to the very end, sometimes protecting a bird, sometimes Anthony (Renji Panicker), and other times Rachel and Alex. It's a man's world in Kaaval with only a handful of female characters and only one pivotal female character in the film. Kaaval is Gopi's first action film since his return in 2020 and the actor has showcased every bit of the heroism that he is known for. The slight deviation would be the pro-feminism lines sprinkled across the otherwise hero-centric 148-minute film. Kaaval in its entirety is what one would expect a Suresh Gopi starrer to be like with the numerous machismo-filled punch dialogues and action sequences. National award winner Nikhil S Praveen has cinematographed the film, while Ranjin Raj has provided the music. Rachel David and Evan Anil reprise other pivotal roles in the Panicker directorial. Kaaval, directed and written by Nithin Ranji Panicker, is a family action thriller, starring Suresh Gopi and Renji Panicker in leading roles.
0 kommentar(er)
