Manorathangal

MT's stories have stood the test of time, enough to warrant an entire episodic series in 2024 featuring a star-studded cast. However, these stories are also for an audience who are fans of his literary works, regardless of whether all of them hold cinematic value or not. In Manorathangal, we get nine different stories in the form of featurettes. The following is an individual breakdown (based on what I've watched so far, in whatever order-will be updating slowly):

• Olavum Theeravum: Directed by Priyadarshan and starring Mohanlal and Durga Krishna, this one has an age-old plot that already got a cinematic adaptation in 1970. In this rendition, more than the plot or the performances, it's Santosh Sivan's cinematography that stands out. Mohanlal and Durga Krishna are alright, but there isn't much here that elevates it to the status of an exceptional black-and-white throwback. (2.5/5)

• Kadugannawa, Oru Yathra Kurippu: Even when we get Mammootty in the lead role, Ranjith's version of this story lacks the emotional intrigue that you generally associate the filmmaker with, especially when he tackles slow-paced drama. Vineeth's performance is the key highlight here. (2/5)

• Kazhcha: Shyamaprasad is one of the finest directors in Malayalam who can handle minimalist drama yet still keep you hooked. I really enjoyed the story of Sudha (a fantastic Parvathy Thiruvothu) and how she dealt with a situation that was, in those times, considered taboo. In today's times, the story finds less relevance, but once again, Shyamaprasad's signature is clearly visible. The same apply to Ouseppachan's music and Nimish Ravi's cinematography. (3.25/5)

• Shilalikhitam: This is undoubtedly the better Priyadarshan effort here, which unmasks the cruelty (or to put it better, lack of empathy) behind the "conventionally" kind and hospitable nature of villagefolk in Kerala. Biju Menon is in superb form, and even the child actor who plays his daughter is solid. (3.5/5)

• Sherlock: Right up Mahesh Narayanan's alley, the story of an alcoholic who moves to a wintry city in the US is safe in the hands of none other than Fahad Fazil. Nadiya Moidu also lends ample support, but the titular cat turns out to be an absolute scene-stealer. His interactions with Fahad's Balu, especially in a scene towards the end, had me on edge. The aesthetics of the house also give off that lived-in feel, and Fahad navigating unemployment and de-addiction with a suspicious cat in the house is as interesting as it can get. (3.5/5)

• Vilpana: Turned out to be a total miss in my books. Other than Madhoo's everlasting beauty, there isn't a lot to admire here. Asif Ali's wig was distractingly bad and Bhagyalakshmi's dubbing was not at all convincing. This has better potential to be a radio drama than an anthology featurette; Aswathy Nair's direction lacks finesse. (1/5)

• Kadalkkaatu: Another featurette that's better suited for a stage drama. Here too, you're likely to remember the cinematography than the plot or the performances. With performers like Indrajith and Aparna Balamurali, I might have expected a more layered output. (1.5/5)

• Abhayam Thedi, Veendum: This story holds immense potential, but director/cinematographer Santosh Sivan is perpetually busy treating us to dazzling frames instead. Even the true performer in Siddique is not fully tapped into. Once again, a disappointment.. but there are so many wallpaper-like shots here that capture the seductive beauty of Kerala. (2/5)

• Swargam Thurakkunna Samayam: Jayaraj nearly has complete control over his cast here, comprising the likes of Nedumudi Venu (whose passing gives this featurette an added emotional layer), Indrans, Renji Panicker, Surabhi Lakshmi, and more. Using natural lighting (of a vintage house during the monsoons in Kerala) also helps keep the proceedings grounded and real. The grey shades of each character are fairly well explored in what feels like an impactful closure to Season One. (3.25/5)

Painful cinema experience. The plots are virtually nonexistent, with characters wandering aimlessly through scenes that barely connect and lagging thru out...... The dialogue feels like a first draft, filled with no sense and awkward pauses. Editing is chaotic, with scenes cutting abruptly, leaving the audience disoriented and poor color grading. There's no emotional investment, no narrative cohesion, and no reason to care. A true test of patience, it's a film best left unwatched. This is a testament to the bad taste of audience and the lost artistic and creativity of today's movie makers.....

Every story in this collection is happened some decades ago in Kerala or places where Malayaleese for Ved to go for jobs of survival.

Here they all connected emotionally vibrant and alive. The story flows in a way as if the paratagonists are trying to sacrifice something of their life to the betterment of others.

Every tale depicts a painful existence of man woman relations, its narrowing difficulties and sometimes sad endings just to move on.

A Kerala of 1950s to 1990s are the best time where people to people interactions and emotional connections are at its peak. These stories dwelve into the existences of such charectors who just too good for today's world of gadgets, selfishness and unhappiness.

The new generation of mobile lovers should watch these stories several times to understand the pain in which every relation cherish or perish in the sands of time.

Mohanlal did well a chatector done by Madhu in 50s of Olavum Theeravum. Surabhi Lakshmi portrayed a cheroctor of opportunist women in those days of utter poverty!

Mammuttoty tried his best to be there though the role is very brief. Biju Menon portrayed a typical mallu eying for his ancestral property to make his Kerala hating wife happy which is the reality of mallu men who married women who born and brought up elsewhere just to Kerala and its orthodox people's way of life.

Parvathy did full justice to a struggling female who succumb to the patriarchal way of Kerala's gossip mongers and selfish relatives!

This collection features stories set in Kerala and places where Malayalees sought work decades ago. These emotionally rich tales follow protagonists who often sacrifice their own well-being for the sake of others, delving deep into the complex and painful realities of human relationships. Set between the 1950s and 1990s, a period when emotional connections were at their peak, the stories highlight characters whose purity and selflessness stand in stark contrast to today's gadget-driven, self-centered world. Through masterful storytelling, these narratives resonate with timeless themes of love, sacrifice, and the enduring human spirit.

Manorathangal is a compilation of cinematic works adapted from the short stories of M. T. Vasudevan Nair. The anthology comprises a total of nine episodes, with each episode being directed and performed by a different individual.

The first episode, entitled "Oolavum theeravum", was directed by Priydarashan. The cast features Mohanlal, Durga Krishna and Surabhi Lakshmi in the primary roles. The film is noteworthy for its excellent performances and cinematography, making it a worthwhile viewing experience. The film received a rating of 6.

The second episode, entitled Kadugannawa, oru yathra kurippu, was directed by Ranjith. The film features prominent actors Mammootty, Vineeth and Anumol in the primary roles. The film is a commendable work, notable for its excellent direction and cinematography. The performances are commendable. The film received a rating of 6.

The third episode, entitled 'Kazhcha', was directed by Shyamaprasad. The primary cast comprises Parvathy, Narein and Harish Uthaman. The episode is notable for its commendable performances and cinematography, making it a worthwhile viewing experience. The film is worthy of a rating of 5.

The fourth episode, entitled "Shilalikhitham", was directed by Priydarashan. The primary cast comprises Biju Menon, Joy Mathew and Shanti Krishna. The film is of interest as a one-time watch, with commendable cinematography and acting that is deserving of praise. The film is thus awarded a rating of 5.

The fifth episode, entitled "vilpana", was directed by Aswathy V Nair. The film features Asif Ali and Madhubala in the primary roles. The film is notable for its ability to hold the viewer's attention, making it a worthwhile viewing experience. The performances and direction are noteworthy, with a commendable level of appreciation for both. The narrative was satisfactory. The film is thus awarded a rating of 5.

The sixth episode is entitled Sherlock and was directed by Mahesh Narayanan. The primary cast comprises Fahad Faasil and Nadia Moidu. The narrative is of substandard quality, with the performances being satisfactory. The episode is not recommended for one time watching. Its evaluation is thus assigned a rating of 4.

The seventh episode, entitled Kadakkattu, was directed by Rathish Ambatt. The primary cast comprises Indrajit Sukumaran, Aparna Balamurali and Ann Augustine. The quality of the direction, storytelling, and cinematography is commendable. The performances, however, are deserving of particular attention. The film is recommended for a one time watching. The film received a rating of 6.

Episode 8, entitled 'Abhayam thedi veendum', was directed by Santhosh Sivan. It's not intended for one time watching. Despite the cinematography and performances being of a high standard, the narrative is not well-structured. However, the narrative arc is not readily discernible, and the viewer may find it challenging to establish a connection with the story. The narrative is entirely incongruous. The film is thus awarded a rating of 4.

The ninth episode, entitled Swargam Thurakkunna Samayam, was directed by Jayaraj. The primary cast comprises Nedumudi Venu and Indrans. The film is of merit, boasting excellent direction and acting. The direction is commendable. The film received a rating of 6.

In conclusion, it is evident that the narratives under scrutiny are characterised by profound emotional depth and sensitivity. The nature of such narratives precludes straightforward visual representation. This aspect is a notable drawback. The series, in its totality, is intended to be viewed in its entirety.