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.....

*Manorathangal*

An adaptation from the novel written by Padma Bhushan Sri. M T Vasudevan Nair,the greatest literary wizard Indian Cinema has seen. The idea of this anthology movie was conceived by Priyadarshan and brought to light by 8 veteran directors including Priyadarshan,Ranjith,Jayaraj,Shyamaprasad,Santosh Sivan,Rathish Ambat, Mahesh Narayanan and one movie by Aswathy V Nair,MT's daughter as her debut directorial.

All the short stories starts with a preface note from the Ulaganayagan Kamal Haasan. All the directors has portrayed and given life to the characters on screen without losing the soul of the story the great writer has conceived. The short stories penned by the writer and the subjects he has chosen for them is timeless.

The short stories starts with a soothing intro song composed by M Jayachandran in our humming bird Chitra's voice.

*Olavum Theeravum by Priyadarshan*

A tale of love amidst the river bank .The story portrays how one can use other people for their convenience and ignore them when they find a better caregiver. Priyan reflects on hatred,love,betrayal,cunningness,exploitation and humiliation in the movie. Notable performances by Mohanlal,Hareesh Peradi & Surabhi Lakshmi. It was heartwarming to see Mamukoya on screen through this posthumous release. Impressive camera shots by Santosh Sivan.

A good story that shows the cunning and crooked human nature for their own benefit and survival.

Rating - 3.5/5

*Kadugannava Oru Yathra Kurippu by Ranjith*

A short story portraying the travel of a middle aged man in search for his step sister from an illicit relationship his father had in Ceylon during his official trip and recollecting the childhood memories he had about her during his travel to Kadugannava. Impressive performances by Megastar,Vineeth & Anumol.

Ranjith has conveyed the deep inner emotions and concern he had in his heart for his sister through Mammootty's character.

Rating - 3.75/5

*Kaazhcha by Shyamaprasad*

This short story puts light onto a shaken marriage relationship of the heroine character with her husband and the societies and families outlook on the way she selflessly dealts with her relationship issues.

Shyamaprasad portrays the movie on the backdrop of music and shows the passion the heroine has for music.

Subtle delivery by Parvathy Thiruvothu as an independent strong women and notable performance by Harish Uthaman.

He also shows justice to the novel by showcasing the existence of strong and selfmade women in those times.

Rating - 3.25/5

*Shilalikhitham by Priyadarshan*

The plot of the story reflects on the dyeing relationships over age and the social status factor confining to one's own selfish needs and wants without any concern.

Priyan has portrayed Biju Menon in a characterisation arc were he goes in search for a historical evidence collection with regard to his work but brings him into the realisation that he has forgotten his roots and the importance of family relations over the hunt for wealth.

Rating - 3/5

*Vilppana by Aswathy V Nair*

The debut directorial by Aswathy V Nair through this short story portrays a middle aged married woman feeling lost and dejected in her life in thirst for a good company.

Aswathy's inexperience is visible through the way she handled the screenplay making the audience lethargic and disinterested in few areas with a long time duration.

Madhubala's portrayal seems to be mechanical though Asif performed well in the movie.

Rating - 2.75/5

*Sherlock by Mahesh Narayanan*

The story revolves around a cat named Sherlock and a new guest who has joined his family in America.

Mahesh has portrayed FaFaa as a weak character who is not comfortable with cats but how he tries to get rid of the cat from the house crookedly forms the storyline.

Mahesh has tried to make the story narrative interesting but couldn't keep the audience completely hooked to the movie as he does in his full length commercial films.

FaFaa's performance couldn't elevate the story as a whole. The long time duration makes this short story just a one time watch.

Rating - 3/5

*Kadalkkaattu by Rathish Ambat*

Rathish has portrayed the life of a working man who balances his family and an illicit relationship in his workplace away from home.

Rathish has given a good character to Aparna Balamurali as a lovable and caring wife and she has made a subtle delivery of the role.

Indrajith has portrayed the character convincingly and the moments he feels guilty was shown brilliantly by Rathish Ambat indirect references.

Rating - 3.25/5

*Abhayam Thedi Veendum by Santosh Sivan*

The entire movie could have carried by the versatile actor Siddique alone but Santosh couldn't convince what he was trying to convey through the story.

The movie may get critical acclamation but not convincing to normal audience.

Felt like he has treated the subject like an offbeat movie he has done earlier.

Rating - 2/5

*Swargam Turakkunna Samayam by Jayaraj*

Jayaraj holds true to the typical value oriented movies in this anthology series as well. It was heard in a promotional drive that Jayaraj was given a privilege to choose from among the 9 short stories by MT and he had rightly chosen this.

The movie reflects on the age old custom beliefs like an ideal time for death of a person.

It was delightful and heart warming to see Nedumudy Venu in one of his final performance through this posthumous release.

Jayaraj has conveyed the selfish and greedy attitude of humans over family relationships in the movie through various moments.

A close resemblance to Anjali Menon's Manjadikkuru was felt in few areas of the story. Good performances by Indrans,Renji Panicker & Surabhi Lakshmi.

Rating - 3.25/5.

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.