Ayyappanum Koshiyum Movie Review: An Unusual Coming-Of-Age Drama That Doesn’t Rely On ‘Formula’

Writer-director Sachy’s sophomore film uses a mix of the aesthetics of Thondimuthalum Driksakshiyum and vintage dramas like Spadikam to narrate the tale of a ‘war’ that unfolds in Attappady tribal belt, between an outsider, Koshi (Prithviraj) and Ayyappan (Biju Menon), a local policeman.The result is a gorgeous first half which proceeds like a richly textured novella, and a second-half where Sachy plays to the gallery, puts expository dialogues in the mouth of his characters to win over that distracted viewer who is against the concept of thinking, and brings the film to a populist conclusion.

Biju Menon Interview: “It Was Only Recently that I Started Taking My Work Seriously”

Aarkkariyam comes close on the heels of another riveting work, Ayyappanum Koshiyum (2020), directed by the late director and his close friend Sachy, a drama centred on a clash of machismo. “It was only recently that I started taking my craft seriously,” says Menon. “When I realised the audience liked seeing me on screen and were paying close attention to my performances, I had to rise to their expectations.

The Great Indian Kitchen: R Kannan to Direct Tamil Remake, to Star Aishwarya Rajesh

The Great Indian Kitchen, the Malayalam film which released earlier this year, will be remade in Tamil and star Aishwarya Rajesh.
The film, which will be directed and produced by R Kannan, went on floors on Thursday. The inaugural ceremony took place on Thursday in Chennai.
The shooting of the remake will begin soon and will be released in Tamil and Telugu.
The Great Indian Kitchen premiered on a Malayalam streaming platform NeeStream in January. Directed by Jeo Baby, the film stars Nimisha Sajayan and Suraj Venjaramood.
According to the IMDb synopsis, The Great Indian Kitchen revolves around a woman (Sajayan) who struggles to be the “submissive wife” that her husband and in-laws expect her to be. The story traces her journey “as she changes herself and, even more so, changes the household”.
The Great Indian Kitchen was critically acclaimed for its realistic portrayal of women. The film addressed various contemporary issues including the Sabarimala dispute, taboos regarding menstruation, and raised questions of gender equality within traditional families. 
Streaming giants including Netflix, Amazon Prime Video rejected the film without clarifying the reason, while Zee Keralam and several big Malayalam channels denied releasing the film citing the Sabarimala dispute as the issue, said Baby in an interview to Firstpost.
After the film’s success on NeeStream, the film had its television premiere on Asianet The Movie on February 14, on the occasion of Valentines’ Day.
Aishwarya, who will be playing the lead in the upcoming Tamil remake, is known for the 2014 award-winning film Kaaka Muttai, and Ka Pae Ranasingam. She made her Telugu debut with the remake of her Tamil film Kanaa (2018), titled Kousalya Krishnamurthy (2019). The actor is also working on the Telugu remake of the Malayalam action thriller Ayyappanum Koshiyum. 
The rest of the cast is yet to be announced.
Kannan, who has previously remade Hindi films like Jab We Met in Tamil titled Kanden Kadhalai, and Delhi Belly’s Tamil remake titled Settai. He is directing and co-producing the film with MKRP on behalf of Masala Pix. Prior to the upcoming Tamil remake, the director had been working on another Tamil remake titled Thalli Pogathey (a romantic comedy-drama) of the 2017 Telugu film Ninnu Kori, which is in its final stage.

Best Malayalam Films of 2020: A Clash of Male Egos, the Return of Shobana and a Screen-life Movie

Outside Thiruvananthapuram’s famed Kalabhavan theatre is a washed-out poster of Tovino Thomas’ Forensic, one of the last films that had a theatrical release in the state, reminding passersby of a dismal year without cinemas. A dismal year to make year-end movie lists.
The movie halls across the state pulled the shutters on March 11, two weeks before a nation-wide lockdown to contain Covid-19 began. They are yet to reopen and resume their business.
The year started with great promise. Anjaam Paathira, a crime-thriller directed by Midhun Manuel Thomas, released in January and went on to become a blockbuster. Sachy’s Ayyappanum Koshiyum, which used classic techniques of mass filmmaking repeated the success of Anjaam Paathira, garnering commercial and critical acclaim. Although Fahadh Faasil’s Trance, which came riding on a great hype, but bit the dust at the box-office, the actor’s performance earned praises.
As the industry is yet to warm up to exclusive digital premieres, only six movies released post-March. All except one ﹣Mahesh Narayanan’s C U Soon ﹣were met with lukewarm responses. Although it is yet uncertain if virtual releases would become a popular model of film distribution in the state in near future, its merits haven’t gone unnoticed. Debut director Mustafa’s Kappela was deemed a flop when it released in theatres in Kerala in March. However, when the film landed on Netflix, it instantly became a hit with the audience who appreciated the film’s naturalistic, low-key aesthetics and Anna Ben’s performance as the protagonist. The film, produced on a shoe-string budget, is now being remade in Telugu.
Here is a list of five best films out of the 47 Malayalam films that released in 2020 in theatres or virtually.
Ayyappanum Koshiyum
https://www.youtube.com/watch?v=8Wx3dAQ8pr4
In 2019, director-writer Sachithanandan wrote Driving License, a comedy-drama starring Suraj Venjarammood and Prithviraj Sukumaran, where the central conflict arose from the bruised ego of a movie superstar who does everything in his capacity to destroy his rival, a lowly government officer. In his directorial, Ayyappanum Koshiyum, he takes the theme several notches up, placing the men’s conflict in a social context and adding more layers to the characterisations. Biju Menon plays Ayyappan, a police inspector in a police station in Attappadi tribal belt, who falls prey to a cruel revenge plan designed by Koshy, an ex-havildar, the son of a highland baron. The former sees in Koshy the reflection of the injustice heaped on his community by the feudal lords who came from the outside who exploited the land and its people. Koshy, desperate to prove his worth to his oppressive father, refuses to give in. A fantastic cast, dynamic yet impressively austere cinematography and compelling writing make Ayyappanum Koshiyum a film for ages.
C U Soon
https://www.youtube.com/watch?v=QdpVdxyOMHA
Conceived before the pandemic and shot during the lockdown, C U Soon, a screen-life film set in UAE and Kochi, is the only Malayalam film to have found success after premiering on an OTT platform. Directed by Mahesh Narayanan and co-produced by and starring Fahadh Faasil, the film has its characters always restricted to the space around their computer, within the purview of their phone network, or under the radar of a surveillance device. Darshana Rajendran plays a young victim of human trafficking, held captive in a UAE apartment as a sex worker, and Fahadh Faasil plays an IT professional working in the field of cybersecurity. Despite the limitations imposed by the film’s visual style and the logical loopholes in the narrative, Mahesh Narayanan, who also handled the film’s editing and virtual cinematography, manages to engage the audience emotionally in the storytelling and identify with the characters’ situation.
Varane Avashyamundu
https://www.youtube.com/watch?v=M3i-VGCY69c
Excellent casting can do wonders. In Anoop Sathyan’s directorial debut Varane Aavashyamundu, the performance of a stellar cast﹣Shobana, Urvashi, Dulquer Salmaan, Suresh Gopi, Johnny Antony and Kalyani Priyadarshan﹣not only brings aboard immense charm but also cancels out the flimsiness of the film’s sit-com-like narrative. Centred on four characters in an apartment complex in Chennai, the film proceeds through delightful vignettes of routine life. Shobana plays a single mother who, in her fifties, begins a new career, finds love and fixes the blots in her relationship with her adult daughter. Anoop’s writing is witty and poised, dripping with memorable one-liners. The most memorable sequences in the film are where the lead characters recount their past. They are elegantly cut; drama is subtle and affecting.
Anjaam Paathira
https://www.youtube.com/watch?v=dn5KZD1E67Y
Director Midhun Manuel Thomas’ crime-thriller is derivative and ridden with logical inconsistencies but there is no denying that it is a fascinating work for its technical finesse. At the centre of the film is a serial killer who carves his victims’ eyes and hearts out of their body to make a point. Cinematographer Khalid and composer Sushin Shyam create great atmospherics that elevates the cat and mouse chase between the killer and the city’s police force. They turn Kochi into a city of distress, devoid of humanity, ready to explode at the touch of a button. Kunchacko Boban plays criminologist Anwar Hussain, who doesn’t heroically solve the crime but becomes the sole witness to the truth that plays out in the film’s final moments. Kunchacko Boban takes his talent in underplaying to a new, interesting height in Anjaam Paathira. Hussain has a muted body-language and the face of a thinker.
Kappela
https://www.youtube.com/watch?v=ZS9OU-NXlmg
A young woman leaves her home in a mountain hamlet to meet her lover whom she has never met. At the end of the day, she returns home a changed person, disillusioned and with a new perspective about life. Kappela, directed by actor Mustafa, has Anna Ben, Roshan Mathew and Sreenath Bhasi playing the lead roles. The underlying message that the film sends across is cynical, that this is no world for the meek and the innocent. The woman at the centre of the film requires a male saviour. But the devices Mustafa uses to narrate this flawed and cliche-ridden story makes Kappela an interesting work. Jimshy Khalid’s low key cinematography and Anees Nadodi’s excellent art direction help him create a universally-relatable world to place this tale in. Anna Ben delivers a fine performance as Jessi, a timid girl living under the shadow of her strict Christian father.

Nayaattu Review: Martin Prakkat and Team Deliver a Masterful Film that Holds the State Culpable

The chief minister (Jaffer Idukki), the head of the police force and the members of a political party trying to capitalise on a friend’s accidental death sit in a place many miles away, designing an alternate truth that suits their reality.The movie opens with Praveen Michael (Kunchakko Boban), a police constable merely two months into the job, being assigned to drive sub-inspector Mani (Joju George) around.

Kala Review: Tovino Thomas’ Grim Thriller Falls Flat In A Puddle Of Poor Judgement

Director Rohith VS, in his third directorial, Kala (Weed), uses a lot of quick cuts, shots of blood in varying shades of red, and haunting music to narrate a story about two single-minded young men fighting it out in a sprawling estate.In the film’s opening sequence that showcases an ordinary day in Shaji’s middle-class household, every mundane activity and movement is underlined using quick cuts and a seemingly endless background score.

In Memoriam: Remembering Those We Lost in 2020

MK Arjunan, the Malayalam music composer fondly known as Arjunan Master, died in April at 84.   Arjunan Master made his debut in playback music composing through Karuthapournami (1968) and created his best work in the 1970s, when he composed numerous soulful melodies that have outlived the films they were featured in.   When he won the Kerala State Film Award for music composition for Bhayanakam in 2018, many expressed disbelief that it was Master’s first state award in his career that spans five decades.

Writer-Filmmaker Sachy Dies At 48; Was At The Peak Of His Artistic Career

As a young man, he aspired to join Film and Television Institute of India (FTII) and make “pure cinema”, free of grotesque commercial aspirations. “I’m not entirely happy with the films I did,” he chuckled. “But it is also gratifying to be part of the cinema that entertains a large section of society… ” Sachy found happiness in finding and perfecting the algorithm that created cheers and whistles in the movie halls.