REVIEW OF PULIJANMAM

filPulijanmam is based on the famous play with the same title by N Prabhakaran. The basic idea of the plot stems from a renowned 'Theyyam'(folk art of northern Kerala) named 'tiger turned Thondachan', which talks about a martial art-master from the lower caste, named Kari, who goes to the nether world of tigers(Tiger world) to get tiger nail and tail as a cure for the ruler's mental trauma. The film uses the myth of master Kari as a theme as well as metaphor to explore the current political and social life in Kerala.

The film tells the story of contemporary society through the eyes of an activist, Prakashan(Played by Murali) who finds it difficult for him to reconcile with prevailing social norms. Kari, the hero of the myth was brave and bravery, most of the time, involves naiveté. Kari was naive enough to fall into the trap of the ruler and sacrifice his human-life and take up the loneliness of a tiger. Prakashan is also brave(also naive) in his own terms to fight against a numb society and accept his loneliness which is mostly political in nature.

The film also addresses many social issues of Kerala, like non availability of drinking water, construction boom, revenue recoveries, the growing spiritual inclination of the people and communal tensions. Murali as Prakashan has again raked in a absorbing performance through out. The film is ably scripted with excellence by N Prabhakaran and N Sasidharan. Cinematography by K.G.Jayan is masterful.

Priyanandanan masterfully mixes a myth with current political life of Kerala, in this wonderful film simultaneously bringing up the politics of ecology, womanhood and social existence. Pulijanmam won the national award for best film(India) and is easily one of the best Malayalam films of the decade. m. Only it has no point to drive home.

Buzz up!

Pulijanmam is based on the famous drama with the same title by N. Prabhakaran. The film highlights the struggle between oppressors and those who resist society"s exploitative forces. It stars Murali, Sindhu Menon, Vineeth Kumar, Salim Kumar, Sreeraaman, Samvritha Sunil and Irshaad. The film, produced by M.G. Vijayan under the banner of Amma films, was the director"s second film; his first was the critically-acclaimed Neythukaaran.

Director:Priyanandanan
Release Date:May 2006 (India)
Genre:Drama | Fantasy
Language:Malayalam
Subtitles:English hard coded .

TRAFFIC SIGNAL

Madhur Bhandarkar has a penchant for stories that expose different aspects of modern society. And he imbues his movies with an element of realism. After the hard-hitting 'Page 3' and 'Corporate', the unconventional filmmaker completes his trilogy with 'Traffic Signal', which attempts to take you into the world of people making a living on traffic signals.

The characters in the film are straight out of life: beggars, petty sellers, goons, prostitutes, drug addicts, gays and pedophiles etc.

One by one, the film takes a peek into the lives of these characters. But the story lacks a common thread. Instead of a linear plot, the story keeps shifting tracks for most part of the film. The assorted and disjointed subplots only make the first half of the movie a collage with little meaning. The movie picks up in the second half, after a murder. And the conclusion to the story is very unconventional by Bollywood standards.

Yet 'Traffic Signal' keeps the audience interest alive for most part of its running time. And the credit should go jointly to Bhandarkar and the actors for portraying the characters with conviction.

And some of the characters are indeed interesting. There is Silsila (Kunal Khemu), the manager of Kelkar Marg signal who collects hafta from those 'working' at the signal. There is Rani (Neetu Chandra), who sells traditional clothes at the signal. There is Noorie (Konkona Sen Sharma), a prostitute who solicits customers at night. There is Dominic (Ranvir Shorey), a drug addict telling his sad stories to everyone. And there is Haji (Sudhir Mishra), a local Mafioso to whom all the money collectors from signals give their share.

At many instances it appears that Madhur wanted to shock his audience by bringing forth certain aspects of lives of these people which laymen may never have known. For instance, the man who begs during day goes to see a movie in a posh multiplex at night. Or beggerboys buying fairness cream from their day's labour. Or a gay who offers his services to those willing to take.

TRAFFIC SIGNAL