Recently, I've noticed this trend in Malayalam movies, where male friendships and companionship is explored in a healthy way. Such as Manjummel Boys, Premalu and now this one.
Vineeth Srinivasan is an old hand at making movies about people, their pasts, emotions and relationships. Whether it be the theme of pure love in Thattanthin Marayathu, the fear of losing a loved one in Thira, the nostalgia and life defining periods that we miss from our college days.
In Varshangalku Shesham, he similarly explores the erstwhile caricature of Malayalees passionate about Movies, migrating to southern movie hubs in madras and Kodambakkam, all with a dream in their hearts, and an uncertain future in their horizons.
As is the reality, most don't end up being the next MGR or Rajnikanth. Oftentimes having to give up on their dreams as the reality of life comes knocking on their doors.
But this movie doesn't entirely focus on the plight of such Indviduals. Rather, it uses it as a backdrop to explore the estranged friendship between two childhood pals, who both came to the city of dreams to fulfil their own.
How, a turn of fate, the flip of a coin, a bad decision, decides their futures in different directions. One who suffers from perceived failure, while the other ironically, suffering due to the pitfalls of success.
In regard to the actual movie, the first half, up until the interval block, sets up a period from half a century ago, the nuances and the nostalgia of the time, with plenty of pop culture references. Cinematically beautiful and picturesque, it does a great job in highlighting the contrasts between the natural rustic rural beauty of Kerala in the seventies, versus the hustle and bustle, glamour and glitter of the tinsel town in Tamil Nadu, where dreams come to die.
At one point you begin to be concerned, as the story seemed to take a more melodramatic tone. It's dramatic and emotional, but toes the line of venturing into sappy territory.
But the filmmaker, almost as an acknowledgement of this sentiment felt by the viewer, shifts gears and does a 180, taking the story to a contemporary setting, while at the same time filling it with satirical, self-referential, self-critical, as well as fourth wall breaking meta narrative, which, I'm pleased to say, gets more hits than misses.
The biggest surprise of the self-half is definitely the utterly bombastic and scene stealing performance by actor Nivin Pauly, a Vineeth regular, who, plays on screen a satirical, hyper-inflated, almost caricaturish version of himself, Nitin Molly. (lol).
Something also needs to be said about actor-director Basil Joseph, who is someone improving his acting skills with each role he assays. He has great chemistry with all the other characters, especially his comedic timings and counters with Nivin/Nitin. The duo perhaps is responsible for some of the biggest laughs elicited from the audience.
Nivin chews every scene he's in, poking fun at his own expense, as well as bevy of criticisms he's been faced with over the years, especially in light of his series of box-office duds.
But this is not an egotistic star trying to one-up their critics. Rather, someone who's very much aware of them, and is willing to poke fun at them, and at himself, at the expense of giving an entertaining performance.
In regard to the Deuteragonists, I'm pleased to say that both Dhyan and Pranav are competent in their portrayals. Pranav has improved himself as an actor. But as he has himself stated, Pranav is not committed full time as an actor. Which is clear as we can still see there are places where he can improve and refine as a performer. Hoping he is able to do so in the future. While Hridayam, and now Varshangalku Shesham seems to be received well by the audience, we are still waiting for a performance which Pranav can call his own.
The real surprise however, is Dhyan Srinivsan. The self-proclaimed easy going back-bencher, under the able direction of his brother Vineeth, has perhaps puts forth an earnest and understated performance, a career best perhaps, after his much-underrated debut in Thira.
This movie has a large cast of characters, who appear in everything ranging from cameos to supporting roles, all performed well.
There are references, particularly tied to the lead actors, rather their parents, Mohanlal & Sreenivasan, who were at their time a phenomenal onscreen pair in their own right.
The only thing I would take away from the movie, is that the story could've explored the events surrounding the estrangement of the main characters with a bit more depth. But it is understandable why those sections could've been shortened.
Another aspect is the songs. While they're melodious and soulful, they don't have the same memorability as Vineeth's previous venture. And I think, in regard to a movie with the backdrop of movies, and music, should've had songs which were able to elevate the emotions even further.
A last word. In light of the almost discriminatory decision by PVRs to not screen any Malayalam movies, all over India, as a native spectator, I hope that the movies releasing this week and going forwards, are able to gain acceptance from the audience and continue to do well in theatres.
We Malayali audiences don't really care if our movies enter some trumped up 100 crore clubs. As long as the makers of good projects manage to get rewarded for their efforts. And thus, have the incentive to continue making such memorable movies.
Vineeth Srinivasan is an old hand at making movies about people, their pasts, emotions and relationships. Whether it be the theme of pure love in Thattanthin Marayathu, the fear of losing a loved one in Thira, the nostalgia and life defining periods that we miss from our college days.
In Varshangalku Shesham, he similarly explores the erstwhile caricature of Malayalees passionate about Movies, migrating to southern movie hubs in madras and Kodambakkam, all with a dream in their hearts, and an uncertain future in their horizons.
As is the reality, most don't end up being the next MGR or Rajnikanth. Oftentimes having to give up on their dreams as the reality of life comes knocking on their doors.
But this movie doesn't entirely focus on the plight of such Indviduals. Rather, it uses it as a backdrop to explore the estranged friendship between two childhood pals, who both came to the city of dreams to fulfil their own.
How, a turn of fate, the flip of a coin, a bad decision, decides their futures in different directions. One who suffers from perceived failure, while the other ironically, suffering due to the pitfalls of success.
In regard to the actual movie, the first half, up until the interval block, sets up a period from half a century ago, the nuances and the nostalgia of the time, with plenty of pop culture references. Cinematically beautiful and picturesque, it does a great job in highlighting the contrasts between the natural rustic rural beauty of Kerala in the seventies, versus the hustle and bustle, glamour and glitter of the tinsel town in Tamil Nadu, where dreams come to die.
At one point you begin to be concerned, as the story seemed to take a more melodramatic tone. It's dramatic and emotional, but toes the line of venturing into sappy territory.
But the filmmaker, almost as an acknowledgement of this sentiment felt by the viewer, shifts gears and does a 180, taking the story to a contemporary setting, while at the same time filling it with satirical, self-referential, self-critical, as well as fourth wall breaking meta narrative, which, I'm pleased to say, gets more hits than misses.
The biggest surprise of the self-half is definitely the utterly bombastic and scene stealing performance by actor Nivin Pauly, a Vineeth regular, who, plays on screen a satirical, hyper-inflated, almost caricaturish version of himself, Nitin Molly. (lol).
Something also needs to be said about actor-director Basil Joseph, who is someone improving his acting skills with each role he assays. He has great chemistry with all the other characters, especially his comedic timings and counters with Nivin/Nitin. The duo perhaps is responsible for some of the biggest laughs elicited from the audience.
Nivin chews every scene he's in, poking fun at his own expense, as well as bevy of criticisms he's been faced with over the years, especially in light of his series of box-office duds.
But this is not an egotistic star trying to one-up their critics. Rather, someone who's very much aware of them, and is willing to poke fun at them, and at himself, at the expense of giving an entertaining performance.
In regard to the Deuteragonists, I'm pleased to say that both Dhyan and Pranav are competent in their portrayals. Pranav has improved himself as an actor. But as he has himself stated, Pranav is not committed full time as an actor. Which is clear as we can still see there are places where he can improve and refine as a performer. Hoping he is able to do so in the future. While Hridayam, and now Varshangalku Shesham seems to be received well by the audience, we are still waiting for a performance which Pranav can call his own.
The real surprise however, is Dhyan Srinivsan. The self-proclaimed easy going back-bencher, under the able direction of his brother Vineeth, has perhaps puts forth an earnest and understated performance, a career best perhaps, after his much-underrated debut in Thira.
This movie has a large cast of characters, who appear in everything ranging from cameos to supporting roles, all performed well.
There are references, particularly tied to the lead actors, rather their parents, Mohanlal & Sreenivasan, who were at their time a phenomenal onscreen pair in their own right.
The only thing I would take away from the movie, is that the story could've explored the events surrounding the estrangement of the main characters with a bit more depth. But it is understandable why those sections could've been shortened.
Another aspect is the songs. While they're melodious and soulful, they don't have the same memorability as Vineeth's previous venture. And I think, in regard to a movie with the backdrop of movies, and music, should've had songs which were able to elevate the emotions even further.
A last word. In light of the almost discriminatory decision by PVRs to not screen any Malayalam movies, all over India, as a native spectator, I hope that the movies releasing this week and going forwards, are able to gain acceptance from the audience and continue to do well in theatres.
We Malayali audiences don't really care if our movies enter some trumped up 100 crore clubs. As long as the makers of good projects manage to get rewarded for their efforts. And thus, have the incentive to continue making such memorable movies.