Apr 06, 2015 11:19 PM
8838 Views
Regional cinema holds a special place in our hearts especially if they are made using our mother tongue. They can create such an emotional wallop among us which films of alien language perhaps cannot make. Over the years I've been lucky enough to witness some superb films in malayalam especially from the new generation stars. The new wave cinema has been a great addition to malayalam cinema especially because it veered away from the star cebtric approach of the 1990's. Newer scripts have been made, new concepts have been laid out and as a result we, the audiences have been left riveted. These are some of the best piece of filmmaking that I've seen in malayalam thus far.
"Thoovanathumbikal"
Padmarajan-Mohanlal duo's midas touch. The movie that gained cult status thanks to the new generation social media sites that spreads the word of mouth at a rate of knots. Thoovanathumbikal is a story of romance, a story about a man, Jayakrishnan, who falls in love with two women "Radha" abd "Clara". The ingenious thing about Thoovanathumbikal lies on how Padmarajan celebrates romance using "rain" as a metaphor. I don't wanna spoil the fun element by talking too much about the film. Go see it yourself, you would be blown by this magical film.
"Manichitrathazhu"
The original of Bhool Bhulaiyaa, titled Manichitrathazhu ranked at #2 place in a recent survey conducted by ibnlive.com which ranked the best indian films ever made in an ode to the completiob of 100 years of Indian cinema. Remember the stanley kubrick quote - "All work and no play makes Jack a dull boy". This movie is about madness and the energies it sets loose in Shobhana's character when she gets obsessed and little isolated in a large bunglaw. Its a spine chilling descent into madness that often sends serious chills down the spine. A performance that is as unforgettable as Robert De Niro's was in Raging Bull.
"Left Right Left"
Pinaccle of hard grinded south indian cinema. The parallel storylines of a corrupt yet often idealistic cop “Vattu Jayan” played by Indrajith and the who’s who political agenda in the country starting from Sahadevan and Roy Thomas, all merges together very well in “LRL” leaving the audience to witness a jolt-bolt, artichoke of a climax that gives its viewers plenty to ponder over when the curtains roll over, the lights go off and you reach the parking lot.
"Oru Vadakkan Veeragadha"
In the above mentioned survey, this movie was listed as the third greatest Indian movie of all time. The movie is based on a legend of chekavar warriors who used to live in the malabar side of kerala during the british raj period. Its ingenious craft blends together a traditional martial art(kalarippayattu) with a strong story and characters with edge. One of the best performances of Mammotty in this film.
"Yavanika"
The best suspense thriller made in malayalam in my opinion. Its a profoune expedition of humqn behavior. There are three versions to every mystery, My Version, His Version& THE TRUTH – and Yavanika follows a sequential pattern of a storytelling format till it reaches a diabolical climax which is also the inevitable. Some may call it an abrupt ending but for me it’s a poignant, near profound piece of character development.
"Chemmen"
Malayalam cinema's evergreen classic is Thakazhi's chemmen starring Madhu and Sheela. Who can forget Madhu's Pareekkutty and Sheela's Karutha and their romantic exchanges in this film? Its simply outstanding
"Devasuram"
The syndicate of the feudal lord invites the lady to perform her debut by way of subterfuge promising the poor villager a grand audience and a warm welcome in return; but when the latter realizes that she’d been tricked in by the land-lord, the artist in her throws her anklet to the lord’s bare face, cursing her pity luck on the floor and in-turn swearing not to touch the damn thing again, in one of cinema’s tantalizing intermissions ever! The altercations between Mangalassery Neelakhandan and Mundakkal Shekharan consists of malayalam cinema's best written sequences ever.
"Banglore Days"
What constitutes an Anjali Menon cinema? A schmaltzy, romance studded, thick little woolen blanket that envelops you slowly like a teddy bear and gives you this soothing paternal comfort that lasts long hours even after you have left the cinema.
Her films appears as a mother's touch on your forehead. This might seem like a crazy fan-boy fetish, but trust me, I've felt that much of love, care, warmth and affection through her films. The idyllic sub-urban worlds and happy-go-lucky characters in Manjadikkuru for instance. Or the paltry yet palpable exchanges in Usthad Hotel. Yet, Banglore Days is the most profound script she has attempted thus far, a film that sits perfectly in the pantheon of new-gen malayalam cinema.
"Kireedam"
Sibi Malayil's cult classic that once again invites us to relook as to why these films constitute my list of greatest malayalam cinema ever - great character art. Who can forget that classic intermission sequence featuring a father, his son(with a knife) and a local outlaw which is played like a demented offspring of Gabbar Singh from the great story - Sholay?
"Number Twenty Madras Mail"
Joshi's Number 20 madras mail is hitchcock's favorite genre - a homicide on a moving train, innocent men on the run - turned upside down. Great performances from Lal, Jagadeesh and Soman and an unforgettable cameo from Mammootty make this a roller coaster ride worthy of a hitchcockian B grade entertainment status.
Worthy runners ups
Kalikkalam, Dhrishyam, Chenkol, Inn Harihar Nagar, Urumi, Vaishali, Iyobinde Pusthakam, Vanaprastham, Usthad Hotel. The list goes on.
