Nanpakal Nerathu Mayakkam Review | Very beautiful

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Film Review


Nanpakal Nerathu Mayakkam Review | Very beautiful

In the morning, I saw and experienced drowsiness. As much as this film is about Jose Pellissery and Mammootty, it is Theni Eshwar’s film as much or more than that. It is a film of beautifully drawn frames by the camera person Theni Eshwar. The film captures an ordinary village in Tamil Nadu, its blue trees, green beds, dung mats, fields, tree shades and the green, red and tube lights of Tasmak in an indescribably beautiful way.

Static frames are the majority of the day. Theni Eshwar must have been sitting behind the camera engrossed in the scene, finding the most beautiful expressions of the most ordinary scenes, starting with the scene inside the lodge at the beginning, the crowded bus, moving to the narrow lanes of the village, the houses and the vastness of the fields.

In the afternoon, drama and cinema are mixed. Sarathi Theatres, a theater troupe,
Some of them are superficial things, such as the play in one place, and references to the places where the play was performed. Along with penning the final titles, Thilakan and Jose Pellissery’s drama period pictures are coming up. The film also mentions the leader of the drama troupe named Thilakan.

Nanpakal’s BGM is old Tamil movie dialogues and songs. Many of these come in as reflections of the context of the film. Even if that brilliance is not captured, this BGM is an essential element in tying the audience into the fun of the film.

There are also frames reminiscent of the stage where Kanmani, Pearl, Sally and her son come together and James asks if you remember me with each of them standing around. Beyond the similarities that catch the eye at first glance, this film is a visual representation of parakayapravesham, the last word of adjectives for the acting skills of the actors. James gets off the bus and walks up to the attic of the village dressed as Sundaram. Then there is only beauty.

James, who doesn’t like sweets, adds sweetness to the tea because Sundaram likes it. He goes from dustbin to dust in kitchen utensils, openly expresses his love for his wife and child, from atheist to staunch theist. Talks loudly, swings and sings for others to make them laugh. So James becomes completely handsome and completes the alien entrance.

Although the film does not distinguish whether it is a dream, reality, mental problem or spirit, it seems that the script of this film is based on the process of an actor becoming a character.

Nankakal Neret Mayakam is an expression of actor Mammootty getting polished again and again. Not only James’s Malayalam and Sundar’s Tamil, but the body language of both the characters, the subtle transformation of James to Sundar’s body language, the moments when Sundar and James recognize each other, and the shock and pain at that time, Mammootty has presented very beautifully. Sometimes I felt that Sundaram would be like this and speak in Tamil, but when I thought that it was James, that feeling left.

Not just Mammootty but everyone in this movie has given a great performance. The only flaw was the casting of James and Sundaram’s wives. They seemed detached from those around them.

Situational comedies are throughout the film. Ashoka is the master of these comedies. While everyone in the film moves slowly and half-asleep, it is Ashokan’s character Johnny who gives the film the pace it needs by repeating the rush to open the ration shop the next day.

There are many scenes that are not cooked up for comedy, like the women laughing about not having a toilet, and some of the dialogues while searching for James.

Lijo Jose Pellissery is a director who cannot be confined to any preconceptions or calculations. No one seems to be able to predict the tone, pace or emotions of the film he is going to make, except one. As Lijo says at the beginning of the film, his characters are intertwined human minds. Lijo from Curuli and Jallicut came to mind only in a few frames where people run to catch James.

The truth is that I did not expect a film with such color tone and pace from Lijo. Lijo Nanpakal, who is paving the way for the new film by blowing away all the perceptions that the audience has about him in his previous films, does not deviate from that routine.

S. to prepare the most beautiful fluent filmic language for Lijo’s story. Harish’s screenplay is successful. Tamil and Malayalam mixed parts, dialogues that reveal the nature of the characters, natural humor, and so on, Nanpakalil S. Harish takes it without any hesitation.

Lijo Jose Pellissery and S. There is a part that feels like the perfection of trance that Harish has put together. James, who arrives in Velankani with the drama team, suddenly one day, turns into the beauty who went missing two years ago. Most recently, they meet each other during the afternoon nap.

An indistinct figure crouching in that very blurry frame. The joy and sadness of that beauty, who came without a name, calling or background, was reaching inside from somewhere. It seemed that Sundaram might be thanking James with tears in his eyes. Seeing that deep exchange between James and Sundaram without saying a word is unforgettable.

After watching some movies, the experience left behind by that movie goes with it. After leaving the theatre, the early morning hypnotic feeling lingered. Even while walking along a busy road, somewhere something slows down and an old Tamil song hums close to your ears in a very soft voice.

Content Highlight: Nanpakal Nerathu Mayakkam Review

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