Thoovanathumbikal

This movie and the story is timeless, it will be relevant even after 100 years. Can't find the words to describe the marvelousness of the legendary Padmarajan. And Mohanlal, oof he wasn't acting, he lived as Jayakrishnan, speechless...

I have seen this film many times and every time i am watching i am loving it more and more.This film can be considered as one of the best of Indian films. Mohanlal's jayakrishnan is superb. In this film he play's the role of a villager who shows dual personality. This film was the first malayalam film which focused on "split personality" of the hero and later many films were released with the same theme(Usthaad, Runway etc)but did not come upto the mark. The film was made from padmarajan's(Director) novel "udakappola" with slight differences. If you read this book and then watch it you can see the perfection of the picturisation.The film has no boring or low standard comedy scenes which is one of the plus points. don't miss this excellent movie......

At the outset I would say that this is a profound film, a true classic and if it is not, Malayalam cinema is beyond me. The film proved what I have long heard, that Malayalam cinema from Kerala is idiosyncratically creative. Here, the director Padmarajan revisits a fascinating theme of cinema, adultery. Yet, it would be a simplistic and narrow-minded view of this film to say that it was simply about adultery because it is really far more complex than that, and essentially a film about all varieties of human nature and relationships, and one could even argue- the relationship between reality and what is accepted. Despite the complexities in the characters, and despite the outcast nature of the story itself, the screenplay never borders on the theatrical and is amazingly believable. I will remember this film for many reasons, none more than the character of Jaykrishnan. At the start of the film the first thing that strikes the viewer is his dual nature. But as the film progresses seamlessly, his character becomes a case study in itself. J is confused but principled and yet never an idealist. In fact he has a dark tint so apparent yet difficult to pin point (until of course he kidnapped that guy, which I thought was unnecessary and kind of gave away that part of him). Moreover, throughout the film, despite being portrayed as a popular and gregarious man, he never really opened up completely to the other characters (even to Clara) and to the audience. I would always remember those scenes when I expected him to say the obvious but he smiled away to my frustration. His restraint further made his character extremely intriguing. However, despite the multitude of shades in his character, J is extremely self re-assured (except in his love life) which seems contagious to the other characters. The character of Clara is equally interesting. She is a prostitute but is not typecast as one. She isn't weak, broken, grieving and craving for love. Having lived a life among bounds herself, she understandably never lets herself confine J's life either. For a prostitute to let her true lover go is a supreme sacrifice. In that she comes as the strongest character in the film. While Clara's love for J is transparent, J to me was ever trying to find himself even while loving her. Clara thus came out as the more likable character at the end. It is their amazing chemistry, made all the memorable by such beautiful background scores, that finally left behind a film which is not so much a rigorously interpretable body of work but a series of transcendental cinematic moments. The film is an important, intelligent work that explores the implications of whether or not this is indeed a moral universe.Despite its plot resolution, the film is 'rescued'from utter nihilism by its ritual more acceptable ending, which I found rather an anti- climax. Perhaps Padmarajan wanted an ending the way it is supposed to end in the real world. I am sure the debate on morality and infidelity has an epiphany on everyone who saw the film, which is a wonderful accomplishment for a film made 26 years ago.

i cant actually explain in words what this movie means, but no matter how many times repeatedly i have watched this movie, i never get bored a bit. a beautiful love story and Mohanlal's performance was outstanding. i probably have seen this movie 1000 times already..... still fresh, each scene, dialog with a deep inner meaning. Padmarajan, Malayalam movies miss you... even though there is a touch of adult theme in the movie, we never get a vulgar feel. the whole movie revolve round the axis called love and no other movie can make you feel how love actually feels. all the movies try to explain love, but in this movie we can feel love. love between Clara and jayakrishnan also love between Jayakrishnan and Radha...... just pure love in a very natural situation and the dialogs are also very natural and a common man's words

This is should be in fact the best movie by Padmarajan, ever. thats my opinion. It is a bold story of love versus lust..love doesn't win. lust doesn't loose the game also. The game of life is practically won by love, as lust takes a back door exit. Clara the prostitute unlike many others, enters her profession not because of her life problems, but because she wants to. Protagonist, Jayakrishnan played by Mohanlal is drawn quite masterfully. He is bold and daring, and in his town, the most popular. In his village, he is a humble landlord and a farmer, who is conservative.

Both faces of the character are safe with Mohan Lal. He again displays his genius as he eases through the role. The directors brilliance is shown in so many shots like the song sequences, and when he proposes Clara.

This will be boldest movies ever in Malayalam Cinema. I am sure none of the Directors of this age wouldn't dare to make a movie like this. And to add, this is different from Padmarajans Novel "Udakappola", though the characters are the same in both the movies and the Novel.