puzhu movie review and rating

Thanks For Rating

Reminder successfully set, select a city.

• Nashik Times
• Aurangabad Times
• Badlapur Times

You can change your city from here. We serve personalized stories based on the selected city

• Edit Profile
• Briefs Movies TV Web Series Lifestyle Trending Visual Stories Music Events Videos Theatre Photos Gaming

‘IC 814’ X review: ‘The Kandahar Hijack’ delivers intense drama; fans hooked

'Outlander' Season 7, Part 2 premiere date announced; new characters revealed for season 8

Designer Rick Roy to do a guest appearance in the show Dil Dosti Dilemma

'Loki Season 2' Fan theory on EPIC finale will leave you mind-blown; Tom Hiddleston starrer may be most important event in MCU since 'Avengers: Infinity War'

Takeshi's Castle Indian Reboot Trailer: Bhuvan Bam aka Titu Mama unleashes hilarious punches

Actress Go Ah Sung wows with her idol talents in upcoming Netflix series 'Doona!'

Khalbali Records

Fight Night: The Millio...

Call Me Bae

Terminator Zero

IC 814: The Kandahar Hi...

K-Pop Idols

Follow Kar Lo Yaar

'Kalki 2898 AD' releases on OTT: Here's how and where you can watch the Amitabh Bachchan, Deepika Padukone, Prabhas starrer in different languages

Matsya Kaand - An MX Original Series

Sabka Sai - An MX Original Series

Samantar 2 - An MX Original Series

Indori Ishq - An MX Original Series

Runaway Lugaai - An MX Original Series

Ramyug - An MX Original Series

Hello Mini 3 - An MX Original Series

Bisaat - An MX Original Series

Hey Prabhu 2 - An MX Original Series

Chakravyuh - An Inspector Virkar Crime Thriller - An MX Original Series

Filmfare OTT Awards

The Buckingham Murders

Thalapathy Is The G.O.A...

Pad Gaye Pange

A Wedding Story

The Diary Of West Benga...

Khel Khel Mein

Rebel Ridge

Detective Conan vs. Kid...

Beetlejuice Beetlejuice

Kinds Of Kindness

The Deliverance

Blue Lock: Episode Nagi

Drive-Away Dolls

The Greatest Of All Tim...

Adharma Kadhaigal

Pogumidam Vegu Thoorami...

Kottukkaali

Demonte Colony 2

Raghu Thatha

35-Chinna Katha Kaadu

Mr.Bachchan

Purushothamudu

Sarangadhariya

Prabuthwa Junior Kalash...

Music Shop Murthy

Krishnam Pranaya Sakhi

Roopanthara

Family Drama

Back Bencherz

Manikbabur Megh: The Cl...

Rajnandini Paul and Ama...

Chaalchitra Ekhon

Nayan Rahasya

Teriya Meriya Hera Pher...

Kudi Haryane Val Di

Shinda Shinda No Papa

Sarabha: Cry For Freedo...

Zindagi Zindabaad

Maujaan Hi Maujaan

Chidiyan Da Chamba

White Punjab

Any How Mitti Pao

Gharat Ganpati

Ek Don Teen Chaar

Danka Hari Namacha

Aamhi Jarange

Vishay Hard

Swargandharva Sudhir Ph...

Naach Ga Ghuma

Juna Furniture

Devra Pe Manva Dole

Dil Ta Pagal Hola

Ittaa Kittaa

Jaishree Krishh

Bushirt T-shirt

Shubh Yatra

Your Rating

Write a review (optional).

• Web Series /

Would you like to review this movie?

Cast & Crew

Puzhu Review : A tension-filled drama

Videos left arrow right arrow.

'Puzhu' Trailer: Mammootty and Parvathy Thiru...

Photos left arrow right arrow

Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

User Badisha 717 days ago

Very poor and bad movie this a first fuol mammooty movie

User 841 days ago

Very poor film and bad performance

ppambujakshan 843 days ago

Super 

User thameer 843 days ago

Good attempt

Vishnu Unnikrishnan 843 days ago

worst film of the year.

Visual Stories

8 lesser-known villages to visit in Himachal Pradesh

​10 effective and proven ways to beat stress instantly​

Entertainment

Janhvi Kapoor's most iconic saree looks

Priyanka Chahar Chaudhary’s inspired ultra-glam looks

Shine like Preity Mukhundhan in elegant traditional attire!

How to make Maharashtrian-style Basundi at home

National parks in India that will reopen for tourists in October

Ankita Lokhande's look in royal blue saree is a must-have for festive fashion

8 simple and polite ways to disagree with someone

​A plant that strangely looks like a human!​

Latest Reviews

Fight Night: The Million Dolla...

Yerin Ha joins 'Bridgerton' season 4 as lead Sophie 'Baek', showrunner explains name change

‘Bridgerton’ Season 4: Yerin Ha's character name updated to reflect actress' Korean heritage

Exclusive! There will come a time when staying away from social media will be considered cool, says Vijay Varma

Emily in Paris Season 4 Part 2: Release date, plot, and what to expect

'Bridgerton' Season 4: Yerin Ha opens up about her character Sophie's surname changing from Beckett to Baek's to honour her Korean heritage

'Citadel: Diana' Trailer: Matilda De Angelis takes Priyanka Chopra's spy series forward in this slick action-packed Italian espionage drama

Jung Hae In, Jung So Min, Jang Nara, and more lead September Drama Actor Brand Reputation Rankings

Bhuvan Bam on his role as Vasya in 'Taaza Khabar': Portraying such intense emotions requires a lot of energy and focus

Nicolas Cage's 'Noir' series adds Jack Huston, Brendan Gleeson

Season two of 'The Great Indian Kapil Show' to premiere on September 21

Promoted Stories

• Power List 2024
• Cannes 2024
• In-Depth Stories
• Web Stories
• Oscars 2024
• FC Wrap 2023
• Film Festivals
• FC Adda 2023
• Companion Zone
• Best Indian Films Forever List
• FC Front Row
• FC Disruptors
• Mental Health & Wellness

Puzhu Movie Review: Mammootty’s Ascent Into Darkness Is A Stellar Study Of The Inheritance Of Prejudice

Cast:  Mammootty, Parvathy Thiruvothu, Vasudev Sajeesh

Director:  Ratheena

Spoilers Ahead…

Among the many moments from  Puzhu that will stay with me for a long, long time is a reverse tracking shot featuring Bharathi ( Parvathy Thiruvothu ) and her husband Kuttappan (an extraordinary Appunni Sasi). It's a longish single-take that tells you a whole lot about her Illam, its geography and what she had once left behind. She is heartbroken that she cannot spend more time with her bedridden mother but as she makes her way through her ancestral home, her husband grabs her hand to give this moment of sadness a shade of triumph. The shot reveals how there are only women in the kitchen and the dining areas of this house. And as Bharathi enters the living room (which is full of men), her expression changes to one of defiance as we also see portraits of her ancestors looking down on her and her partner.

It's a moment of pure storytelling without the need of a word. In a film that's essentially about heritage and inheritance, there's poetic justice in making its best scene a celebration of "letting go". Themes about "what we inherit" and "what we pass on" to the next generation run throughout the film. On one side is a track featuring Bharathi who chose to let go of her Namboothiri family to be with Kuttappan, who hails from an oppressed community. They've been together for a decade but modern Malayali society hasn't evolved enough to accept a fair, Brahmin woman's love for a dark-skinned man from a lower caste. They cannot find a house to live in and it only gets worse because he's a painter and a theater actor without a stable job.

In a sneaky aside, the film makes a larger point about how Malayalam cinema uses actors like Kuttappan. When a boy asks him for a selfie, having seen him in a recent superhit, there's sarcasm in the way Kuttappan says, "Yes I'm the one who played the pervert in that film." So when Kuttappan and Bharathi are forced to temporarily move into an apartment that's meant  only  for vegetarians, you do not get a good feeling about it.

It is here that this track merges with Kuttan ( Mammootty ) and his son Kichu's (Vasudev Sajeesh), who live in a flat right above the couple. What makes this move even more complicated is how Bharathi is Kuttan's estranged younger sister. Kuttan and Kichu too seem to be in a similar state of transition in their relationship. Kuttan is a retired IPS officer who looks at his son more like a subordinate rather than with genuine love or care (both words that come up in a game of scrabble between Kichu and his aunt Bharathi). Kichu is growing up fast and he's around the age where he starts to inherit not just the privileges of his caste location but also the biases. He's not allowed to eat the snacks his friends give him, let alone play with the " thendi pilleru"  (wastrels) from outside the building. There are punishments for every mistake, including harsh ones like skipping meals or writing impositions. In another sneaky insert, we're told of how Kichu had to once keep rewriting the spelling of a word he'd gotten wrong in a test. The word? Heritage.

The ' puzhu ' (worm) in the title is meant for Kuttan's track because this is where it develops into a contemporary take on the myth of Thakshaka, the king of the nagas, and his vow to kill King Parikshit on the seventh day. A play called ' Thakshakan ' is also being performed by Kuttappan during this phase and we see the myth getting divided into four chapters that are juxtaposed with major events in Kuttan's life. Apart from the obvious, clues have been laid out generously to help you make connections between Kuttan and the puzhu . Right at the start is a shot of how a boy has to pull aside a dog that's resting in Kuttan's parking as he drives in. He doesn't look like the kind to slow down to save the dog but in the background is a torn bag of fruits the boy's trying to clear. If you've read the myth before, you'll remember how the worm finally emerges from an apple to get to the King. And if you read the myth again today, you'll also understand how Puzhu is also about a man realising that he cannot escape the ghosts of his past (and his ancestors) no matter how hard he tries to lock himself up in an ivory tower.

Director Ratheena chooses to transplant the myth onto an urban upper-caste milieu, where everyone's highly educated but there's still a vacuum when it comes to basic human values. Kuttappan makes another incisive joke here about merit when he recalls an old friend who could not believe how neat his handwriting was. Similarly, when a delivery boy gets into the lift with a retired Justice (Nedumudi Venu) and the retired IPS officer, their attitude towards him is a sign of just how "visible" caste can be in the cities. Which is why it hits you so hard when you hear the word Kuttan uses to describe his feelings towards his sister and her partner. More than heartbroken, he calls the feeling " arrapu" or disgust (the camera soon lingers on a painting of the navarasa showing " beebatsa ").

Such flourishes in the writing are great when the film's subtle and static style can accommodate them. The pacing is deliberately slow and the editing allows for intense ideas to remain long enough for them to work in a context that's larger than the film. But the result isn't always precise. This making style feels jerky when it needs to make space for moments of heightened drama. A suicide scene is staged oddly (Jakes Bejoy's music softens the blow here) and certain details feel a little too "on your face". So when we're shown a small statue of Nangeli, the point it's trying to make appears too strongly to work as a piece of drama.

This is also the case with the tonal shift that appears in the climax. Now one understands the need, considering the myth it's following, for a "secret enemy" to "pop" out of nowhere. Yet, even so, the way the scene plays out appears to be from a lesser movie. All of this drains what could have been a great movie and there's a feeling of it trying to address too many social issues in its short runtime.

Which is why you have to give it to Mammootty for the way he's able to make a human out of a monster. Through him, we see the rotting of a soul succumbing to his own prejudices. At once, you see both a victim and the perpetrator of the same crimes. Eventually, it's the same prejudice that brings his fall. In scenes where Kuttan is emotionally manipulating his son, you see how much this actor can do with so little that you're tempted to hit pause and observe the complex shades of grey he's bringing. In a sense, you feel terrible that such roles have become a once in a decade phenomenon for the actor. And when you see the diabetic Kuttan tearing up after having tasted a spoon of the sweet payasam his sister made for him, you also see traces of a good man who let bitterness poison him to death.

Related Stories

IC 814 hijack: A 3-foot platform at airport allows Nepal to save face, meet India’s security demands

Madhya Pradesh: Two Army officers assaulted, female friend gangraped near Mhow

The Gates Foundation has a huge impact on global healthcare, but is it too influential for comfort?

In Nepal, high demand for a fern found deep in the jungles is driving human-tiger conflict

The BJP’s impossible task in Kashmir Valley

‘Bench Life’ review: Vaibhav is the star employee in an otherwise middling office drama

For young readers: Meet Modadugu Vijay Gupta, a scientist who revolutionised Indian aquaculture

Kolkata: Protesting doctors reject second offer for talks with state government, set new conditions

Father Francis D’Britto (1943-2024): Noted Marathi writer and environmental activist

India seeks to build ‘rules-based’ world order with West but its approach is incoherent

‘Puzhu’ review: Mammootty steers an absorbing tale of the haunted and the hunted

Ratheena pt’s malayalam-language film is out on sonyliv..

Ratheena PT’s assured and absorbing directorial debut Puzhu (Worm) is about a haunted man who believes that he is being hunted. Kuttan (Mammootty), a police officer turned property developer, has no shortage of enemies – or personal demons.

Trapped in a past that he refuses to leave behind, Kuttan faces one of his worst nightmares when his estranged sister Bharathi (Parvathy Thiruvothu) and her husband move into his apartment block. Bharathi has outraged her Brahmin family by marrying the lower-caste theatre performer Kuttappan (Appunni Sasi).

Her re-emergence in Kuttan’s life disturbs his tightly controlled relationship with his only son Kichu (Vasudev Sajeesh Marar). A widower who demands military-level discipline from the boy, Kuttan finds his hold slackening. Kuttappan’s very presence sets him off. Then there are what appear to be attempts on Kuttan’s life. Could it be one of the men he put behind bars in his previous profession? Or is he being paranoid?

The Malayalam-language film is being streamed on SonyLIV.

The screenplay, by Harshad, Sharfu and Suhas, draws connections between Kuttan’s situation and an epic play performed by his brother-in-law. There are shades too of Michael Haneke’s French drama Cache in the inter-weave of a thriller and a social critique.

Unlike Cache , an allegory about France’s colonisation of Algeria, Puzhu is more on the nose about the connections between casteism and toxic masculinity on the one side and Kuttan’s quest to find his tormentor on the other.

Despite being heavy-handed at times and bungling its climax, the 115-minute film is for the most part a compelling drama about a hidebound man unwilling to let go of prejudice or painful memories.

Kuttappan sagely, and correctly, observes that caste discrimination won’t disappear even if humankind is overrun by robots. Kuttan’s aversion to Kuttappan and, by extension, Bharathi, is barely concealed and is enabled by similarly bigoted neighbours and friends (including a character played by Nedumudi Venu).

Elegantly shot by Theni Eswar and judiciously paced, the 115-minute film boasts of impressive performances across the board. Parvathy Thiruvothu, as Kuttan’s warm and still-hopeful sister, Appunni Sasi, whose Kuttappan represents the lived experience of caste, and Vasudev Sajeesh Marar, as the sensitive Kichu, are excellent. But it’s Kuttan, and the thespian who plays him with volcanic intensity, who is the soul of Puzhu .

Few actors other than Mammootty could have humanised a monster to the extent that his descent is tracked with bated breath and reluctant empathy. In one of the film’s most chilling scenes, Kuttan pleads with Kichu to treat him like a friend, then talks to him in a menacing manner, and finally wallows in pathos, all in the space of a few minutes. It’s a performance of many layers and staggering proportion, all the more powerful because it is as carefully calibrated as Kuttan’s everyday dealings with Kichu.

• Malayalam film Puzhu
• Ratheena PT

• Click on the Menu icon of the browser, it opens up a list of options.
• Click on the “Options ”, it opens up the settings page,
• Here click on the “Privacy & Security” options listed on the left hand side of the page.
• Scroll down the page to the “Permission” section .
• Here click on the “Settings” tab of the Notification option.
• A pop up will open with all listed sites, select the option “ALLOW“, for the respective site under the status head to allow the notification.
• Once the changes is done, click on the “Save Changes” option to save the changes.

• Top Listing
• Upcoming Movies

Puzhu Movie Review: Mammootty's Stellar Performance Is The Heart & Soul Of This Haunting Film!

Puzhu , the highly anticipated project that features Mammootty and Parvathy Thiruvothu in the lead roles, has premiered on Sony LIV. The emotional thriller, which is helmed by newcomer Ratheena, had garnered the attention of viewers with its captivating trailer and promo videos. Puzhu is bankrolled by S George and Dulquer Salmaan under the banners Cyn Cil Celluloid and Wayfarer Films.

Did the Mammootty-starrer impress the viewers? Read Puzhu movie review here to know...

What's Yay:

Performances of Parvathy Thiruvothu & Others

Storytelling and the political insights

Background score

What's Nay:

Inconsistency in writing

Puzhu revolves around the relationship between an upper-caste ex-police officer (Mammootty) who is called Kuttan, and his young son Kichu (Vasudev). The duo shares a toxic relationship, where the father controls Kichu to the extent that he feels extremely suffocated and claustrophobic. Kuttan shares an equally problematic relationship with his estranged younger sister Bharathi aka Achyol (Parvathy Thiruvothu) and her husband (Appunni) who belongs to a lower caste.

Script & Direction

Newcomer Ratheena makes a decent debut with Puzhu , which is jointly scripted by Unda writer Harshad and Varathan fame writer duo Suhas-Sharfu. The film revolves around the most toxic and unsettling realities of society and how it conditions individuals. It is a film that makes the viewers uncomfortable with its layered narrative which speaks harsh realities that will definitely continue haunting for a very long time.

The biggest strength of Puzhu is its characters, which are extremely relatable even if they are not at all likeable. Director Ratheena has done an extremely good job with her actors, by bringing out the best in them. The slow-burn narrative of the film manages to keep the audience engaged partially. But there are a few moments where the screenplay seems really over-stuffed with a bit too much content and nothing creating the desired impact. Even though the narrative builds anticipation slowly, it is mellowed down in the climax which looks a bit forced.

Performances

Mammootty, the leading man simply steals the show with his spectacular performance as the extremely unlikeable man who is a product of societal conditioning. The megastar's menacing screen presence and brilliant portrayal of Kuttan is one of the finest performances by a superstar we have seen on the Indian silver screen in a very long time.

Parvathy Thiruvothu creates a deep impact as Achyol with her powerful performance. The rest of the star cast, including Master Vasudev, Appunni, Nedumudi Venu, Indrans, Malavika Menon, and others have played their parts to near perfection.

Technical Aspects

Theni Eswar, the cinematographer has done an exceptional job with the visuals of Puzhu , which has created the perfect backdrop for a haunting cinematic experience. The editing could have been better, as the narrative and its slow pace might leave the viewers unsatisfied.

Jakes Bejoy, the popular musician has done a fantastic job with the background score of Puzhu , which becomes the backbone of the film and elevates the narrative to a certain extent.

Puzhu is a haunting film that throws some light on some of the most deeply-rooted issues in society. Mammootty's stellar performance is unarguably the heart and soul of this well-executed yet flawed Ratheena directorial.

• Don't Block
• Block for 8 hours
• Block for 12 hours
• Block for 24 hours
• Dont send alerts during 1 am 2 am 3 am 4 am 5 am 6 am 7 am 8 am 9 am 10 am 11 am 12 pm 1 pm 2 pm 3 pm 4 pm 5 pm 6 pm 7 pm 8 pm 9 pm 10 pm 11 pm 12 am to 1 am 2 am 3 am 4 am 5 am 6 am 7 am 8 am 9 am 10 am 11 am 12 pm 1 pm 2 pm 3 pm 4 pm 5 pm 6 pm 7 pm 8 pm 9 pm 10 pm 11 pm 12 am

• Entertainment
• Kerala News
• Actress Gallery
• Movie Stills
• Food And Drink
• Health And Fitness
• Tourist Spots
• Mobile Apps

Casting Couch: The Malayalam film industry is ruled by 15 people

Cyclone formed: thunderstorm likely in state, orange alert in 2 districts…, encounter: soldier martyred in kashmir, gold price has decreased by rs.2000, women’s lucky day at amazon great festival sale 2023: beauty, makeup,…, oneplus 8 pro: the first sale on today via amazon, this is the reason behind twins, green tea; should keep in mind these tips while having cup…, vande bharat express in saffron colour will start to hit the…, beaches and parks in alappuzha will be open at 4, ponmudi and kallar eco-tourism centers were closed due to the expansion…, kerala govt releases tourism statistics of 2018, apple phones prices slashed; prices have been reduced for these models, don’t wait in queues, now you can buy general tickets at…, google pixel 8, pixel 8 pro launch today: check out the…, chandrayaan 3’s vikram lander successfully landed softly on the moon for…, the biggest electric suv is coming;  new concept updated, the all-new hyundai creta n line price and specs, 2023 royal enfield 350 to launch on september 1, driverless trucks started trial runs in dubai, puzhu review: an intense must-watch drama with the brilliant performance of mammootty..

REVIEW : PUZHU (Malayalam)  

• RELEASE DATE:13/05/2021 
• PLATFORM: SONY LIV OTT PLATFORM. 
• DIRECTOR: RATHEENA PT
• GENRE: DRAMA 
• STAR CAST: MAMMOOTTY, PARVATHY THIRUVOTH, APPUNNI SASI, VASUDEV SAJEESH MARAR, NEDUMUDI VENU,KOTTAYAM RAMESH, KUNCHAN, INDRANS. 
• PRODUCTION COMPANIES: WAYFARER FILMS AND CYN-CYL CELLULOID. 
• MUSIC DIRECTOR: JAKES BEJOY. 
• CINEMATOGRAPHY: THENI ESWAR. 
• EDITOR: DEEPU JOSEPH.
• SOUND: RASUL POOKUTTY
• DURATION: 115 MINUTES. 

         REVIEW BY ARUNJYOTHI R . 

What’s GOOD: 

• The main theme of the film and how the plot is portrayed. 
• The direction of Ratheena PT. 
• Well written screenplay. 
• The realistic performers of every actor. 
• Mammootty’s brilliant acting. 
• Background Score. 
• Cinematography. 
• Editing. 

What’s BAD: 

• The film is slow paced. 
• Felt a lag in between.
• Resemblance to the episode ‘Oor Iravu’ by Vetrimaaran in Paava Kadhaigal. 
• A subplot towards the ending could have been executed better. 

Detail Explanation, REVIEW : 

Won Plus Factors: 

The script, making and the performance of actors made the movie Puzhu special. These two factors were incredibly strong to make this movie one of the best films of recent times. From the very beginning how the theme of the film was portrayed and how the story started to unfold and how the makers had ended the film were fascinating to see. 

Here the story penned by Harshad was unique, his vision and the facts of present social scenarios were written effectively. The reality of caste and its issues was written beautifully in the story, here the thoughts and ideologies of the writer are clear. Without any bias the thinking of human beings based on caste was shown in the form of actual reality. The courage and the vision of the writer need to be appreciated, though the story he had exhibited the darker side of human beings when it comes to caste. The entire story was written in a balanced manner, and all the events in the plot until the climax were having the proper connection to justify the theme. 

The writer Harshad had also joined Sharfu and Suhas in writing the screenplay. As I said, the plot of the film, in the beginning, was starred with some simple scenes and slowly the movie was moving into a thriller backdrop. So how the script had changed the tone and how the screenplay had entered into a thriller dimension was interesting. While watching the mid-portion of the film I was having slight confusion about what the movie is trying to say, but all that confusion was cleared out at the time when the movie indicated the actual theme. So the writers had taken enough time to establish the story and the various happenings towards the end will give us a shock. Some true reality about the caste and the thinking of human beings was told realistically throughout the film. The dialogues between the characters also pointed out some actual truth about the caste issues in our present society. So the screenplay was organised with the right events and occurrences and it had created enough curiosity. From the very beginning, the character played by Mammootty was given a mysterious feel. His approach toward his son, his thinking, and doings and even his look was giving the sense of eagerness to know what he is trying to prove. So the specific quality given for the character of Mammootty was matching the script to make the situations more influential. The climax was shocking and the writers had made it brilliant, the proper way of reasoning was given and it was convincing. 

The direction by Ratheena PT was unbelievable, it was hard to believe that she was a newcomer. It’s her first film and she proved her brilliance and I am sure that she has the potential to come up with some incredible works. How she made this film according to the script proves her skills, she had managed to complete this film effectively without making any errors. In her direction, nothing gets diverted from the actual theme, she was cleverly making this film realistically and her making style was having the power to dominate to give an intense cinematic experience. How she had successfully used the acting talents and skills of Mammootty will make us wonder, by seeing the acting it is clear that she had given the right instruction to every actor. The negative touch on the character played by Mammootty will surprise everyone and here how the director has portrayed his character is intriguing. In the making, the movie follows a slow-paced way of storytelling and the movie till the last thirty minutes obeys this same slow-paced pattern but it doesn’t affect much in the viewing experience. The direction of Ratheena PT was having the strength to hold our attention, in between I felt some lagging but still, I couldn’t feel to skip forward. The content was the actual reason and the politics which the film discusses will surely make the viewing enjoyable and thrilling. 

The performance of Mammootty is the next thing which carries the film forward. I was stunned to see his acting, no errors and no mistakes. The entire performance of Mammootty in Puzhu can be defined as a complete package of true acting. There are many scenes in the film which showcased his real skills, his perfect timing in delivering the dialogue was wonderful. According to the different types of scenes, he exhibits the right expression, his natural facial expressions and looks had made the important scene to give an extra impact. The controlled way of acting and the different handling method in showcasing the situations was easily done by Mammootty. In the scene in which he coughs, the scene in which he shows the fear, the scene in which he controls his son, the scene in which he advises his son, the scene in which he provokes, and the scene in which he does the unexpected brutal things were equipped with the natural acting of Mammootty. So without any doubt, I will say that the film Puzhu delivers his best acting in recent times and his character ‘Kuttan’ rather called ‘Sir’ will give you a shocking and unforgettable experience. Appunni Sasi as Kuttappan a.k.a. KP appears to play an important role and he has given his best. He had undertaken the character neatly, and till the end, the way he acted out was matching for the character. His amazing dialogue delivery and various modulations in telling the dialogue were intense, his voice was adequate to point out some actual truth of human thinking. Also his combination scenes with Parvathy carried the movie strongly till the end, also their chemistry had worked out. In the film, he plays the role of a stage drama artist and he has shined with some good acting skills. Parvathy Thiruvoth as Bharati was excellent with her acting, her calm way of talking and pleasant way of handling the situations was wonderful to watch. Her few combination scenes with Mammootty were also, her character was crucial but to perform she was having less still she had carried a sensible natural way of acting throughout the film. Vasudev Sajeesh Marar as Rishikesh aka Kichu needs to be specially mentioned, his acting was precise. The sufferings he faces and different emotions he goes through also how he moves his life in toxic parenting were acted out genuinely. Nedumudi Venu, Anil Nedumangad, Indrans, and Kottayam Ramesh had done justice to their respective supporting roles. 

Lost Minus Factors: 

1: In the above-mentioned positives, I had mentioned that the movie is following a slow-paced way of making. So in between while watching some may feel a lag, or why this is unnecessarily dragging. The movie is taking enough time to establish the story so this slow-paced way of storytelling is demanding for a film like this so one may have to show a little bit of patience in between. 

2: The theme of this film is strong and this same theme has been discussed in many films. But here detailing, the premise of the film and the life of the character played by Mammootty makes it different. But still, the core theme of the Puzhu was giving me the resemblance to ‘Oor Iravu’ by Vetrimaaran in Paava Kadhaigal. The ending and it’s idea in the film Puzhu were slightly similar to the climax of ‘Oor Iravu’ in Paava Kadhaigal. 

3: Towards the end, the film is conveying an important subplot. It was very crucial in the film but I felt that the makers had not effectively executed that scene. It could have been elaborated more and the character who appears in that scene felt weak, the reasoning was convincing but the execution was weak. 

4: I felt the character of Appunni Sasi as Kuttappan needs to give more space  like the character of Mammootty. Appunni Sasi character was explained well but still the makers could have given a little more scenes. Also Parvathy’s character Bharati was deserving of more scenes, she was having very few scenes. I thought her character could have explored more, the writers and director haven’t utilised her character well. 

So What’s Hot?

1:Performance of Mammootty and other actors. 

2: The theme of the film and its script. 

3: Direction of the newcomer Ratheena PT

4: Technicality.  

So What’s Not?

1: Slow narration

2: Subplot in the climax was ineffective. 

What’s behind the film : 

Another winning factor of this film is the background score, cinematography and editing. The background score stood higher to hold my attention, it was dominating to give an extra boost and impact for the crucial scenes. For every scene, Jakes Bejoy had given the appropriate background score and every important scene had ended with the right tunes to set the mood. Also, the background score towards the end was set brilliantly, and the feel and depth of the scenes in the climax were balanced with the right background tunes. Therefore, the climax had given an extra influence and those tunes had helped the ending look more vibrant. The cinematography by Theni Eswar was matching the premise of Puzhu, his visuals were contributing to making the occurrences powerful. The close-up shots he pointed out in the face of Mammootty came out well to exhibit his outstanding acting. The lighting for the indoor scene was good, the entire climax visuals were strikingly shot with the right angles and the slow-motion shots in those scenes were wonderful to watch. The editing was nice, the duration never felt long, and I haven’t felt mismatches in the transition of scenes.

Final Verdict : 

So overall the film Puzhu had given me a satisfying cinematic experience and I enjoyed watching this film. The script and the making were powerful and the theme which the film portrays will surely draw your attention. The performance of Mammootty had made this movie wonderful, also the natural performance of other actors had helped to give a convincing feel. The richness in the background score, cinematography and editing is also an attraction. The theme and the climax will definitely shock you, the movie was successful in showcasing some present actual reality. The world of casteism is still around us and the film Puzhu had victoriously entered into it without any fear and had pointed out some truths which needs to be discussed, so I will recommend you to watch this film with your loved ones. 

• FINAL RATING: 4/5

RELATED ARTICLES

Chaaver movie review: ‘chaaver’ offers a visual cinematic treat with a weak script, kannur squad review: an engaging investigative crime drama with the brilliant performance of mammootty, chandramukhi 2 review: an unwanted sequel which can be avoided. , ”actor rahman’s friendliness & good-hearted nature remain the same beyond years”..., the high court dismissed the petition filed by robin’s bus, ahana krishna kumar, editor picks, popular posts, anupama parameshwaran, popular category.

• India News 2891
• Kerala News 2871
• World News 747
• Movie Reviews 140
• Actress 136
• Privacy Policy

web tasarım

Puzhu (2022)

• User Reviews

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews

• User Ratings
• External Reviews
• Metacritic Reviews
• Full Cast and Crew
• Release Dates
• Official Sites
• Company Credits
• Filming & Production
• Technical Specs
• Plot Summary
• Plot Keywords
• Parents Guide

Did You Know?

• Crazy Credits
• Alternate Versions
• Connections
• Soundtracks

Photo & Video

• Photo Gallery
• Trailers and Videos

Related Items

• External Sites

Related lists from IMDb users

Recently Viewed

• WEB STORIES New
• ENTERTAINMENT
• CAREER & CAMPUS
• INFOGRAPHICS
• Paris 2024 Olympics

• Manorama Online
• Manorama News TV
• ManoramaMAX
• Radio Mango
• Subscription

• Entertainment

Mammootty's Puzhu review: Unearthing a paranoid worm crawling under your skin

Have you heard the story of Raja Parikshit and Takshaka, the serpent king? It's a chapter from the Hindu epic Mahabharata. Raja Parikshit tries to interrupt a sage who is in deep meditation. On learning about the king's mischief, the sage's son becomes furious and curses Parikshit that he would die of a snake bite. Takshaka, the serpent king, takes it upon himself to kill Parikshit.

An overconfident Raja Parikshit builds a tightly secured mansion in the skies to escape the curse. The serpent king fails six times trying to kill the king. However, the seventh time, Takshaka assumes the shape of a puzhu (worm) and infiltrates a basket of fruits being gifted to the king.

After a bite from a fruit, Takshaka shifts back to his original form and coils around the king's neck. Parikshit, who by now has accepted there is no escaping the curse, gives into Takshaka, who bites him as cursed by the sage's son.

Oru Kuttanadan Blog review: looking from afar

Mammootty's Rorschach hits all the right notes, except in the end | Movie Review

To put it in simple terms, Puzhu has Mammootty playing Raja Parikshit, while Takshaka or the worm can be construed as several aspects, including his character's bigotry and tainted past.

It seems like Mammootty has found his calling in scripts that have its base in Mahabharata and we are not complaining. The veteran actor has performed like a dream in Puzhu.

Ratheena P T can take a bow. What a stellar debut! Puzhu is all that the trailer promised and more.

Kuttan (Mammootty), a bigoted upper-caste retired police officer, is living an annoyingly disciplined life with his son Kichu (Vasudev Sajeesh Marar), who is outrightly afraid of his father and his obsessive compulsions. Kuttan is set in his ways. To Kuttan, tomato is a vegetable and strong teeth are white. And because it is so for Kuttan, it should be so for Kichu as well.

Kuttan has a boring routine and Kichu is naturally not so fond of it.

His parenting skills are borderline abusive and the movie early on establishes that he is manipulative when it comes to keeping his son in line. Kuttan's sister Bharathi (Parvathy Thiruvothu) is married to Kuttappan (Appunni Sasi), a theatre activist who belongs to a lower caste, much to the chagrin of Kuttan and his family.

Kuttan is paranoid about plots against him and is suspicious to the core. 

This creeps into his home as well, with Kichu being restricted from accepting anything from anybody or even playing outside. There are moments when Mammootty's character draws parallels with Leonardo DiCaprio's character in Martin Scorcese's 'Shutter Island'. Or it could also be the audience waiting for someone to break it to him that his paranoia is in his head and to snap out of it.

Puzhu, for the majority of its runtime, adopts a realistic approach, occasionally using plot devices like theatre to explain where the movie is at that particular moment. The movie picks up pace rapidly in the last 12 minutes, with its whole aura turning cinematic without warning.

Still, it does not take away from the menacing mood the movie intends to leave you in at the end of it all.

Puzhu is a metaphor to expose the social evil that is caste

Harshad, who scripted 'Unda', seems to have brought forward his two best messages from the brilliant Khalid Rahman movie while writing the story for Puzhu. One is the prevalence of casteism in the police department, and the other is the tendency of the police force to frame innocents. However, he has treated both plots rather freshly, not leaving any marks of his previous outing.

Kuttappan has some of the strongest statements in Puzhu. Calling a spade a spade, Kuttappan wears his identity on his sleeve proudly and never once do you see him bowing in shame because of his caste. Appunni Sasi as Kuttappan has done a splendid job portraying the theatre activist.

Meanwhile, the bigot and brother in Kuttan are constantly at battle with each other. His conversations with his mother, who becomes paralysed after Bharathi leaves home to live with Kuttappan, feel like self-confessions.

But what stands out in the movie is how the makers never ask you to take sides.

Ratheena has crafted some moments in the movie that could make you empathise with the bigot in Kuttan. Puzhu never forces its truth on the audience. The movie lends that kind of thinking space. At the end of it all, it is up to the viewer to decide what side of the conversation do they want to be on. 

Stellar performances both in front and behind the camera

Mammootty's subtle expressions showing disdain for things that do not go with his belief system have been captured wonderfully by Theni Eswar. The megastar needs roles like these to remind true movie lovers how he earned that label. The man has certainly scored a hattrick of hits (Bheeshma Parvam, CBI 5: The Brain). There were shades of his yesteryear brilliance in this performance and we need more of that.

An in-form Parvathy Thiruvothu has delivered a smart performance. She has done justice to her role and has nailed the nuances of her character.

Vasudev, who plays Kichu, has done a fabulous job. After all, almost all his scenes had him pitted against Mammootty. So it had to be 'A-Game or No Game'.

Kottayam Ramesh has done a decent job playing Kuttan's friend.

The late Nedumudi Venu looked a lot healthier in this movie than he did in 'Bheeshma Parvam' or 'Aaraattu'.

Puzhu has no songs in it, thereby restricting the runtime to under two hours, which should be the case with more movies here.

The background music composed by Jakes Bejoy synced with the mood of the story so well that it never overpowered or distracted the audience from what was happening on screen. His use of wailing instruments has worked to the advantage of most scenes, adding the right tinge of disturbance to Puzhu.

This worm will slowly but surely crawl under your skin. Ratheena most definitely has a winner on her hands.

Puzhu is available for streaming on SonyLiv.

• Movie Review
• Malayalam Cinema
• Malayalam Films

'The Greatest of All Time': This Thalapathy Vijay starrer is a nostalgic yet uneven ride | Movie Review

'Footage' movie review | Manju Warrier, Saiju Sreedharan's film is well executed

'Vaazha': Fathers and children try to understand each other in this slice-of-life comedy | Review

'Manorathangal' Series Review | A collection of 9 films each different from the rest

Kadalkkaattu: Lame presentation of a beautiful story

'Thangalaan': Stunning visuals and social commentary, yet missing the emotional core | Movie Review

An eccentric Basil Joseph stars in a fun Jeethu Joseph film | ‘Nunakuzhi' movie review

‘Abhayam Thedi Veendum:' Powerful frames dominate this Santhosh Sivan film, which falls short in narrative | 'Manorathangal' Series Review

'Kazhcha’: This Parvathy starrer examines societal stigma and personal triumph in the wake of a broken marriage | 'Manorathangal' series review

'Puzhu' review: Intense narrative aided by brilliant Mammootty, Parvathy Thiruvothu

The promos of Mammootty 's most recent outing Puzhu had amped up our curiosity. And, the wait has been worthwhile. Puzhu , which was released on Friday, revolves around a social theme often being spoken about lately. If you had your expectations raised after watching the teaser and trailer, you would be pleasantly surprised to know Puzhu does more than live up to that. We review.

What is the film all about?

Mammootty's Kuttan is a retired police officer and a sadistic father who treats his son Kichu (Vasudev Sajeesh Marar) like a captive. He watches his son's every move and dictates how should he brush his teeth or whether he should call a tomato a vegetable or a fruit. Every time Kuttan says, "Good evening, Kichu," you would feel a gripping sensation in your throat.

Paranoid Kuttan tackles his haunting past AND present

But Puzhu isn't just a family drama. We won't reveal the other tone of the film as it would spoil your film-watching experience. But to give you a gist, Kuttan's past haunts him and he senses someone is plotting to murder him. He gets paranoid and doubts everyone including his son and his sister (Parvathy Thiruvothu) who married a man from an oppressed community.

Thiruvothu, Appunni Sasi stand shoulder-to-shoulder with Mammootty

Not to mention, Mammootty the actor stands out. Mammukka's minute nuances breathe life into Kuttan. He neatly delivers the conflicting emotions he endures in trying to find out who he actually is. He is supported by a galaxy of talents like Thiruvothu, among others. The brilliant Appunni Sasi deserves a special mention as he elegantly shoulders a heavy role, standing tall with the megastar.

'Puzhu' is a must-watch for all it has to offer

Director Ratheena has to be lauded for the stylized narrative. Puzhu is a deliberately slow-cooked meal and you will relish every bit of it. The intersection of mythology in a modern-day story, rhetorical insertion of stage plays, and the darker color palette—everything is thematic. Verdict: The SonyLIV offering bags 4/5 stars (If not for the predictable climax, we would have gone with 5/5 stars).

• Entertainment
• Life & Style

To enjoy additional benefits

CONNECT WITH US

‘Puzhu’ movie review: Mammootty’s menacing presence anchors this important debut film with a few failings

Despite its flaws, the film marks an important debut from director ratheena pt, who is clearly not ready to walk the beaten path.

May 13, 2022 12:33 am | Updated 02:43 am IST

A still from ‘Puzhu’

When Malayalam superstars play characters with negative shades, more often than not, one can expect things to take a turn towards the climax, revealing the saint who had hidden in plain sight, in wolf’s clothing. This has been the case except for a few remarkable films over the past few decades, so much so that superstars playing negative characters can give away the plot twist early on.

However, in Ratheena’s debut film Puzhu , there is no quick whitewash job at the end, nor is there any redeeming quality thrust upon the character played by Mammootty. For much of the film, we experience the same feelings that his young school-going son experiences in his presence. No, it is not affection or respect, but a strong sense of fear mixed with revulsion.

It is not easy to put a finger on what really makes the character behave in such a way, especially since the script by Harshad, Sharfu and Suhas, reveals only the bare bits and pieces of his background or past until the very last moment, when we get an overflow of information. The casteist hatred that he displays towards his sister (Parvathy)’s husband Kuttappan (Appuni Sasi) is easier to understand, but not so the attitude towards his son (Master Vasudev) nor his constant fear of someone being out there to endanger his life.

Director: Ratheena PT

Cast: mammootty, parvathy.

The oppressive father has built a rather sickening routine with his son, which involves recounting the minute details of the boy’s day and them watching together an old home video, which he pauses right at the point where he stops the boy’s now-deceased mother from picking the toddler up when he falls on the ground. He comes across as someone who strongly believes that he means well with each of his toxic or repulsive actions, be it towards his son or his sister. One can almost hear him utter, “This is for your own good,” after one of his terrorising acts against his son or the sister.

The whole film is built around this character with a very hazy past, that in some of the passages where nothing substantial happens, one wonders whether the makers too were groping in the dark as we were. Even a hint about his past job, which has an important part to play in the whole story, is brought in out of nowhere at the climax that it does not leave us with the intended effect. In fact, the whole climax passage almost seems disconnected from the rest of the narrative, which slowly but successfully builds the anticipation. The parts where the protagonist and another set of characters talk about a deal gone wrong and hold conciliatory talks only serve as digressions.

Having said that, Puzhu marks an important debut from someone who is clearly not ready to walk the beaten path. Ratheena’s filmmaking is marked by its economy and quiet control, which adds to the horror of some of the father-son sequences. One only wished for the script to be not so intentionally hazy at some points, even though it does not hold anything back in aiming barbs at casteists.

But, Puzhu in the end belongs to Mammootty, whose menacing screen presence and earnest performance holds together the film even in its weakest points. It is always a joy to see superstars breaking out of the tiresome mould that they have been caught in for years, and rediscovering their sparkling abilities which endeared them to the audience in the first place.

Puzhu is currently streaming on SonyLIV

Related Topics

Malayalam cinema / reviews

Top News Today

• Access 10 free stories every month
• Save stories to read later
• Access to comment on every story
• Sign-up/manage your newsletter subscriptions with a single click
• Get notified by email for early access to discounts & offers on our products

Terms & conditions   |   Institutional Subscriber

Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide by our community guidelines for posting your comments.

We have migrated to a new commenting platform. If you are already a registered user of The Hindu and logged in, you may continue to engage with our articles. If you do not have an account please register and login to post comments. Users can access their older comments by logging into their accounts on Vuukle.

• Cinema News
• Actor HD Photos
• Actress HD Photos
• Movie HD Photos
• Event HD Photos
• News Shots Photos
• Behindwoods Ice
• Movie reviews
• Web Series Reviews
• Advertise with us
• Promote short films / albums

PUZHU MOVIE REVIEW CLICK TO RATE THE MOVIE

Some movies present relevant and important social messages through loud and long monologues; some others do it with subtle expressions and through an unbiased lens. Puzhu, directed by Ratheena PT, is the latter kind of movie. The film has Mammootty, Vasudev Sajeesh Marar, Parvathy Thiruvothu, and Appunni Sasi in primary roles.

Puzhu follows Kuttan (Mammootty), a widowed Brahmin police officer living with his son, Kichu (Vasudev). Being an unapologetic bigot, Kuttan’s questionable parenting skills borders on child abuse, making his son resent him. His strong beliefs also prevents him from accepting her sister, Bharati’s (Parvathy) choice to marry Kuttappan, a man from SC/ST community. Kuttan’s routine life changes drastically when his sister and her new husband move to the same apartment complex as him and when attempts at his life begin. How Kuttan deals with these circumstances forms the crux of the story.

There are many movies on bigotry and the inhuman consequences of casteism, but Puzhu stands apart from these, mainly because of the subtlety in the approach. The film chooses the unbiased route to deal with the issue of casteism, avoiding any judgement and without picking any sides. Ultimately, Puzhu leaves you to decide the right side instead of having a resounding conclusion that pushes the intended message.

Being a debut director, Ratheena PT has done a splendid job in creating a movie that’s creepy, shocking, and disturbing. Her vision came into life beautifully with Jakes Bejoy’s haunting score that went well with the tone of the film.

Theni Eswar’s cinematography, however, stole the show, as the camera aptly picks up the teeniest of expressions on the actor’s faces, enhancing the quality of the movie. While the technical side of things was certainly impressive, the screenplay from Harshad, Sharfu, and Suhas deserve special praise. The allegory used in the film using the word ‘Puzhu’ opens doors to interpretation and much contemplation.

Coming to the casting of this film, there couldn’t have been a better actor than Mammootty to play the conditioned and toxic bigot. Kuttan. The disgust, the arrogance, helplessness, and countless other emotions played effortlessly on his face. Negative roles are nothing new to the 70-year-old, but the way he manages to humanise even a character like Kuttan is a revelation. Credit must also go to master Vasudev Sajeesh Marar, who portrayed the silently seething and repressed son wonderfully. Parvathy and Appunni each gave decent performances as well.

What works against this otherwise-marvellous film is the amount of topics covered in it. There’s paranoia, OCD, islamophobia, abusive parenting, corruption, and self-righteousness thrown into the mix of casteism, which can potentially bog down the pace. However, the film still manages to leave the intended impact.

BEHINDWOODS REVIEW BOARD RATING

PUBLIC REVIEW BOARD RATING

REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

PUZHU NEWS STORIES

மம்மூட்டி - பார்வதி நடிக்கும் புதிய படம்.. நேரடியாக பிரபல OTT-ல ரிலீஸ்! எப்போ? எதுல?

'Cool and Swag' கேங்ஸ்டர் ஆக மம்மூட்டி.. அசர வைக்கும் 'பீஷ்ம பர்வம்' டீசர்

For the first time, Superstar Mammootty and this ace-actress join hands in a thriller movie!

LATEST: "கர்ணன்" பட பிரபலத்துடன் புதிய படத்தில் இணையும் மம்முட்டி! சூப்பர் அப்டேட்!

Puzhu related news stories.

• Mammootty Parvathy Puzhu Movie Direct OTT Release
• mammootty new film Bheeshma Parvam teaser released
• For the first time, Superstar Mammootty and this ace-actress join hands in a thriller movie
• malayalam mega star mammootty next film Puzhu update

PUZHU RELATED CAST PHOTOS

Parvathy Thiruvothu

മമ്മൂക്ക ആ scene-ന് ശേഷം ലൊക്കേഷനിൽ എല്ലാരോടും ദേഷ്യപ്പെട്ടു | puzhu fame vasudev reveals videos, മമ്മൂക്ക ശരിക്കും ഒരു ചൊറിയൻ പുഴു തന്നെയാണ്| appunni sasi shares acting experience with mammootty videos, other movie reviews.

• CBI 5 The Brain

• Jana Gana Mana

• Lalitham Sundaram

• Night Drive

• Bheeshma Parvam

• Kallan DSouza

• Archana 31 Not Out

PUZHU RELATED NEWS

• மம்மூட்டி - பார்வதி நட...
• CBI சேதுராமய்யராக மீண்ட...
• Mammootty And 'Bigg Boss' Ramya Pandian's Nanpakal Nerathu M...
• மம்முட்டி - ரம்யா பாண்...
• 'Cool And Swag' கேங்ஸ்டர் ஆக மம்...
• தளபதி விஜய்யை தொடர்ந்...
• கொஞ்ச காலம் முன்ன இதே ...
• மீண்டும் தமிழில் மம்ம...
• மெகாஸ்டார் மம்முட்டி ...
• HBD Mammukka - 5 Times The Superstar Proved That He's Not Ju...
• மலையாளத்திலும் விளைய...
• For The First Time, Superstar Mammootty And This Ace-actress...
• LATEST: "கர்ணன்" பட பிரபலத்த...
• “நவரசா Shootக்கு முன்னாட...
• "Many Moons After Maryan!" - Parvathy Shares An Unseen NAVAR...

PUZHU RELATED LINKS

• Mamangam | Bigil Rules Kerala TV Audiences, Check Its TRP Position This Vishu - Slideshow
• Mammootty - Peranbu | 15 Best Performances (Male) In 2019 - Tamil Cinema - Slideshow
• Ganagandharvan - Videos
• Sarath Kumar And Mammootty: Pazhassi Raja | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Mammootty And Arjun: Vande Mataram | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Mammootty And Vikram: Indraprastham | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Ajith Kumar And Mammootty: Kandukonden Kandukonden | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Mammootty And Murali: Anandham | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Jai And Mammootty: Madhuraraja | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Rajinikanth And Mammootty- Thalapathi | From Thalapathi To Marconi: When Mollywood And Kollywood Stars Unite - Slideshow
• Unda | Post-Premam era - List of Malayalam films celebrated in Tamil Nadu! - Slideshow
• Unda | Behindwoods Report: Most appreciated films in first half of 2019 - Slideshow

Puzhu (aka) Puzhuu

• Malayalam Latest News
• Actor Photos
• Actress Photos
• Movie Photos
• Event Photos
• Movie Reviews
• Song Reviews
• Events & Promotions

Behindwoods.com @2004-2022 Privacy Policy | Terms & Conditions

If you have any grievance against any of our published content, please contact G. Manivannan, Grievance Redressal Officer by emailing to [email protected]

• Change Password
• Top 20 Songs
• Top 100 Movies

Puzhu Review - Mammootty is terrific in what works more as a fascinating character study than a movie!

Published date : 17/may/2022.

Puzhu Movie Review

Bharath Vijayakumar

Puzhu is that film in which the performance of its leading actor is not just the USP of the film but is almost the film in itself. Mammootty plays Kuttan or that is how he is referred to by few characters in the film. We never get to know his real name and it doesn’t seem to matter. The ‘Puzhu’ in the title could either refer to him or it could refer to the way he sees certain people around him. If you are looking for a plot or a story, Puzhu isn’t that kind of a film. The one liner of the film might be a little close to Vettrimaran’s segment in Paava Kathaigal but that isn’t the crux of Puzhu . It takes us closer to a repulsive character and leaves us in his vicinity for close to 2 hours. It leaves us squirming in our seats but we remain glued to and try to understand what is actually going through the mind of this man.

Mammootty is unbelievably good. He plays someone with whom you wouldn’t want to have any ties with. Puzhu works because we remain interested with this character but at no point do we empathize with him. The film never tries to judge the character and leaves it to us. The fascinating aspect of Puzhu is how Mammootty plays someone who is evil but it also seems that he always feels that he is doing the right thing. The scenes between him and his son are the best in the film. We shudder in fear thinking about what the kid is going through. And Mammootty plays someone who actually loves his son and believes he is doing all the right things for him. That is why you are in awe of this performance. The actor brings out so many facets of the character even when he is still on screen. Watch how he reacts when he realizes he is wrong but cannot accept it. He comes across as stoic but we can feel his embarrassment (The scene with the school Principal is one instance). In another instance, watch how his face lights up when his son lives up to his expectation (the chess coin scene). And for all his moral high ground about being disciplined (the way he sees it) he is actually a corrupt person. We learn about his dirty deeds during his service as a policeman much later.

As a film, Puzhu leaves you with mixed feelings. The climax in particular feels rushed and forced. The other characters have very little to do. But the film’s intentions seem to be different. Unlike films that take on casteism head on and films that have a subtle dig at casteism, Puzhu showcases what it is to be around a toxic and casteist person. In that way it succeeds because you are in a constant state of discomfort and fear with Kuttan around.

  Rating: 3/5

  Streaming on SonyLiv

• Critic Reviews
• User Reviews

User Comments

next>> <<previous

News - 12 Sep '24

News - 11 Sep '24

News - 09 Sep '24

News - 07 Sep '24

News - 03 Sep '24

Puzhu Review: Mammootty Easily Shoulders a Middling Film on the Predator’s Paranoia

The State was a Hindu policeman in Manmohan Desai’s Amar Akbar Anthony (1977), one of modern India’s most popular films on religious harmony. The Christian and the Muslim characters, played by Amitabh Bachchan and Rishi Kapoor , respectively, were marked by their religious symbols, while the Hindu man, portrayed by Vinod Khanna, dressed in neutral clothes, possessed the reins to control the society – a pattern that aligned with Hindu majoritarianism.  

In Puzhu , directed by debutante Ratheena PT and written by Harshad , the upper-caste Hindu is a policeman, an IPS officer, with the power to create or destroy lives and manufacture narratives that would eventually creep into history textbooks. But unlike Desai’s film, Puzhu is steeped in reality and a fine sense of justice. The film, which aspires to be a slow-burner, takes the viewer through the seemingly perfect life of the man, played majestically by Mammootty , and reveals its dark interiors. A widower, he keeps his son Kichu (Vasudev Marar), an early teenager, a prisoner at home, barring him from playing with his friends or mingling with people who aren’t his family members. Every evening, he makes him sit with him on their living room couch and watch an old home video featuring the late mother, to remind the child of what he lost. He threatens the child and emotionally manipulates him to keep him close as he fears he would lose Kichu to the outsiders, like how he had ‘lost’ his younger sister Bharathi ( Parvathy TK ) when she fell in love with a Dalit playwright-actor Kuttappan (Appunni Sasi).   

For the most part, Puzhu invests itself in depicting the man’s paranoia. He does not trust the walls of his plush apartment guarded by a strong security system. He reaches for his pistol every time he senses danger – the sound of a door creaking or the sight of a fallen tree on the way home. Time and again, he barges into the shabby home of his former business rival (Kunchan), whom he had driven into deprivation, believing that he is still out there to harm him. Why does he, belonging as he does to the cream of Indian society, to the class that enjoys all the social powers and material wealth, believe that he is always under threat?  

A straight line connects Puzhu to several celebrated superstar films in Malayalam, such as Ranjith Sankar ’s Varsham (2014) in which Mammootty played a wealthy businessman grieving the death of his teenage son. In one of the most intense scenes in the film, his former domestic help, a Tamil man, meets him and weeps, only to be slapped across the face by the master. What is odd about the scene is not the act of violence by the wealthy man but the passivity of the film that coldly moves past the poor victim. In Puzhu , every slap is accounted for, dissected and studied.   

Ratheena sets the frames in such a fashion that everything inside them makes one curious about the characters. The toys arranged next to Kichu’s bed, the colour of his pyjamas (Sameera Saneesh’s costume design is fantastic) or the living room furniture. The interior of Kichu’s apartment is modern and classy, but it exudes a strange sense of horror, a reflection of his father’s psyche. The greatest strength of Puzhu is not Mammootty but the atmosphere built by cinematographer Theni Easwar and musician Jakes Bejoy . Easwar’s moody lighting and the camera movements manifest the film’s tone. One might feel a chill down the spine when his camera, slowly, moves closer to the father and the son on the couch or when it observes the man being alone with his thoughts.   

But this formal style could become meaningless in the absence of an equally sturdy screenplay. Instead of looking at the specifics of life, Harshad crams into the script several social issues – caste-based violence, toxic parenting, islamophobia and police violence – and turns the narrative into a cacophony of progressive political thoughts, muting the individual voices. Kuttappan, who possesses caste consciousness and courage, comes across only as a caricature, an embodiment of a social media page, devoid of human qualities like despair, fear or disgruntlement. In the latter half, the film throws away the opportunity to be a fascinating psychological drama on the paranoia of the powerful and becomes a summary of newspaper headlines.  

Recommended

‘Rust’ Misfire: Producers Challenge New Mexico Safety Bureau’s Report

HFPA Member Husam Sam Asi Sues Organisation over Lack of Action on Sexual Harassment Complaints

Film Crew Attacked By Goons In Mumbai

In what must be its biggest misstep, Puzhu negates the cop’s paranoid schizophrenia, forcing the film to be a fable. At one point closer to the climactic end, he lashes out violently at Kichu, accusing him of partnering with his enemies. Now and then, he visits his bedridden, mute mother and like a little boy, unpacks his emotional baggage. Mammootty compensates for the natural limitations of his body using his brilliantly articulate voice and face. He brings to life the signs of the man’s mental aberrations and his intense hatred for what he regards as the ‘other’. The film’s utterly disappointing final sequence betrays this glorious performance. Ratheena and Harshad choose to make slogans out of broad strokes, abandoning the fascinating complexities of private life. Call it the curse of the woke era in Malayalam cinema.  

This Puzhu review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

NewsApp (Free)

Puzhu Review

Mammootty plays the despicable Kuttan with absolute integrity, observes Divya Nair.

If you have read the Mahabharata, you are probably aware of the story of King Parikshit and Takshaka, the serpent king.

Once, while hunting a deer in the forest, King Parikshit meets a hermit who is deep in meditation.

When he asks the hermit about the deer he was hunting, the latter doesn't respond. The angry king throws a dead snake around the hermit's neck.

On hearing about this act of sacrilege, the hermit's son gets upset and curses Parikshit that, within seven days, he would die of a snake bite. Takshaka, the serpent king, vows to kill Parikshit.

Parikshit fears for his life and builds a strong home to protect himself from the curse. He manages to cheat death several times. Ultimately, Takshaka turns into a puzhu ( worm ) and comes to Parikshit's table in a fruit basket. When Parikshit eats the fruit, it leads to his death.

Directed by Ratheena, Puzhu -- starring Mammootty and Parvathy -- is a modern adaption of this tale.

Kuttan (Mammootty) is a Brahmin police officer and widower who is extremely disciplined and protective about his only son, Kichu (Vasudev Sajeesh).

He disapproves of his sister Bharathi's (Parvathy) marriage to Kuttappan (Appunni Sasi), a scheduled caste theatre artiste who ultimately moves into the same residential society where Kuttan lives.

Through flashbacks, we learn of Mammootty's unpleasant past and possible enemies who he suspects are trying to kill him. However, most his investigations lead to dead ends, leaving him in a state of paranoia and disappointment.

Kuttan's temper and impulsive reactions to people and situations annoys his son to such an extent that he wishes to kill his father.

Just when Kichu distances himself from his father, Kuttan discovers that his sister is pregnant. He can't tolerate it and tries to negotiate with Bharathi who is adamant.

In Puzhu , Kuttan plays the arrogant King Parikshit who is cursed to be killed. Although he is aware that Takshaka is waiting for him and manages to escape death several times, the puzhu will find its way.

For her debut film, Ratheena's adaptationmtriumphs in many ways, but mostly for the portrayal of its lead character, Kuttan.

For someone like Kuttan who insists that the tomato is a vegetable and not a fruit and healthy teeth are always white, not yellow, change doesn't come easy, nor does acceptance of reality.

Kuttan will punish his only child and make him reiterate 'tomato is a vegetable' 500 times, but cannot accept that he could be wrong. But is Kuttan a bad father for teaching his son what he was taught by his father and by his teachers in school? How can discipline be such a bad thing?

Kuttan's disgust, lack of sensitivity and resistance to change finds reason in his brother-in-law Kuttappan's choice of theatrical subjects that question caste and patriarchy.

Mammootty plays the despicable Kuttan with absolute integrity. His effortlessly twitching face and body language do most of the talking. When he opens up to his bedridden mother, Kuttan comes clean about his flaws and misdoings, almost like he's the victim.

Meanwhile, Parvathy -- who has very little screen presence -- portrays the pain and emotions of a sister and wife quite well. The interactions between Kuttan and Bharathi, though minimal, are intense.

From an obedient son who wouldn't question his father for fear of being punished, Kichu's transformation to a rebel won't surprise you at all.

The beauty of this slow burn thriller lies in the subtle integration of each of its characters that draw you to their version of the subplot.

Unlike the Rohit V S-directed Kala , which was quite stylish and extrovert in its execution of hate and bigotry, or Jithin Issac Thomas's unsettling portrayal of the septic tank cleaner in Pra. Thoo. Mu (part of the Freedom Fight anthology) , Puzhu lets you view Kuttan's world of hate without actually spelling things out.

The dramatic use of theatre to fill in the missing pieces of the puzzle may not entice everyone because it still leaves a lot to your imagination.

While there are instances in which Puzhu makes you a little uncomfortable, it unfortunately doesn't let you empathise with any of its victims. This, I feel, is where I feel it largely fails.

Overall, while Puzhu is non-judgmental, it leaves you with just enough to ponder upon.

Puzhu streams on SonyLIV.

• MOVIE REVIEWS

More like this

Beast review, saani kaayidham review.

Bollywood News   |   Current Bollywood News   |   Indian News   |   India Cricket Score   |   Business News India

• Manipur Conflict
• Haryana Election
• Kolkata Rape
• Hema Committee Report
• Uncovering Hate
• Climate Change
• Members Only
• Brand Studio
• Entertainment
• The Quint Lab
• Graphic Novels
• Members' Opinion
• South Asians
• Privacy Policy

BECOME A MEMBER

Review: Mammootty’s 'Puzhu' Deserves Applause For Taking On Caste Head On

Puzhu marks mammootty's digital debut., review: mammootty’s 'puzhu' deserves applause for taking on caste head on.

Ratheena PT’s directorial debut Puzhu is a deeply political film couched in many shades of grey. The film marks Mammootty’s digital debut and has the ageing superstar playing a complex character. Puzhu addresses both Dalit and Muslim politics, and themes such as ostracism and vengeance come alive on screen.

30 years after playing a very likeable Pappa to Appu in the blockbuster Pappayude Swantham Appoos (1992), Mammootty is back playing a single father again, this time in a totally opposite avatar. Mammootty’s Kuttan is a detestable figure right from the outset; a widower and a control freak engaged in constantly nagging and disciplining his pre-teen son Kichu.

In Puzhu Ratheena and the writers – the trio of Harshad, Sharfu and Suhas – take the narrative forward from Kuttan’s viewpoint, but do not balk from highlighting the prejudice and casteism of the protagonist, leaving the viewer to make their judgment. There is an element of tension throughout, and there is enough to keep the viewer hooked to the screen. However the audience is left to grope in the dark on the motives and reasons for the attempts on Kuttan’s life as the protagonist himself, with little detail on the character’s past.

For Mammootty Puzhu is a real departure from his routine of doing pointless films back-to-back, as if he were on short notice, broken only by the onset of Covid.

Post Munnariyippu (2014) Mammootty hasn’t really portrayed a character with grey shades, and the sheer fact that he went on to don this role is testament to his self-belief. The superstar explained away in a recent interview that he never flinched from taking up such roles and that he could only choose from what is offered to him.

Mammootty also dominates the proceedings on screen, with other characters including Parvathy Thiruvoth’s ‘Acchol’ flitting in and out of the frames. Appunni Sasi in a pivotal part as theatre actor Kuttappan makes an impact, his natural flair and Kozhikode accent making for a refreshing act. So does Vasudev Sajeesh Marar as young Kichu.

It must be noted here that Mammootty continues to be beset by the struggle to play the part of a younger man. Aging is a fact of life and there is only so much you can do to roll back the years. At some point you risk being inanimate, like a wax statue at Madam Tussauds, expressions becoming the casualty in the process. The only way to overcome that is to embrace age and the sooner Mammootty does that the better for him and the audience.

Puzhu might be politically correct and must be commended for that but it is only incidental for a film as a product. Essentially a film has to tick many more boxes and right intentions alone don’t suffice.

Puzhu does ask uncomfortable questions of viewers but one also gets the feeling that some of it is for the sake of it than for story-telling purposes, a result of the political leanings of its makers.

The team definitely deserves applause for taking caste head-on, especially in a deeply hypocritical society such as Kerala.

For all its imperfections, Puzhu is a commendable debut effort from Ratheena PT. As with many recent films in Malayalam, Puzhu ’s pitfalls probably emanate from too many cooks spoiling the broth, where scripting is a collaborative, thus, conciliatory effort. Notwithstanding the fact that Malayalam Cinema has always emulated Hollywood in leaving things unsaid, Puzhu leaves the audience with too much to guess, taking a bit of pleasure out of the viewing experience, making it darker than warranted. The film’s runtime of less than two hours is a plus and Puzhu is definitely worth a watch.

'Sarkaru Vaari Paata' Review: Mahesh Babu's Quirky Yet Mediocre Commercial Flick

(At The Quint, we question everything. Play an active role in shaping our journalism by becoming a member today.)

Read Latest News and Breaking News at The Quint, browse for more from entertainment and movie-reviews

Topics:    mammootty      parvathy  .

Loading Comments...

• Current Issue
• Arts & Culture
• Social Issues
• Science & Technology
• Environment
• World Affairs
• Data Stories
• Photo Essay
• Newsletter Sign-up
• Print Subscription
• Digital Subscription
• Digital Exclusive Stories

• CONNECT WITH US

Movie Review: ‘Puzhu’ dissects the insidious worm of caste

Puzhu is the most recent in a series of malayalam films that have explored and elaborated on the ways in which caste hatred and violence works in kerala’s body politic and social life..

Published : Jun 12, 2022 18:00 IST

READ LATER SEE ALL Remove

A scene from Puzhu (2022), starring Mammooty. | Photo Credit: By Special Arrangement

The OTT release of Puzhu , a debut film by director Ratheena P.T. starring Mammootty, has triggered discussions about the brahminical mindset and its unholy potencies. It has also prompted one to probe into the many legacies of caste in Malayalam cinema.

Parvathy Thiruvothu with Ratheena P.T., the director of Puzhu (2022). | Photo Credit: By Special Arrangement

Historically, casteism, like misogyny, has been ever present, both within Malayalam film narratives and in the film industry. It can be traced right back to the first Malayalam film, Vigathakumaran (1928) directed by J.C. Daniel, and the traumatic experience of its heroine, the Dalit actor P.K. Rosy. Rosy was hounded out of Thiruvananthapuram for daring to act in a film; the very sight of a low-caste woman on the silver screen enraged the upper-caste audience of the film and society at large. 

Down the decades, this legacy of casteism continued in many subterranean forms, modes, and hues. In the 1950s and 1960s,when Malayalam cinema was coming into its own, social realism was the aesthetic norm. The film narratives of the time, largely based on literary and theatrical works, frontally dealt with issues of social inequality, class divide, caste oppression, and untouchability. All the major films of the 1950s, such as Jeevitanauka (“Boat of Life”, 1951) directed by K. Vembu, Neelakkuyil (“Blue Koel”, 1954) directed by P. Bhaskaran and Ramu Kariat, and Rarichan Enna Pauran (“Rarichan the Citizen”, 1956) directed by P. Bhaskaran, had caste at the core of their narratives. 

Wearing their progressiveness on their sleeves, these films were populated by characters who wore and bore caste marks. The humiliations and conflicts of Dalits were enacted and elaborated not in the caste register but essentially as an economic and class issue/condition. And they were always framed within the larger narrative as the struggles of the citizen-to-be of the newly independent nation or as the emergence of the new secular individual of the modern age.

A still from Neelakkuyil (1954), one of the earliest Malayalam films with caste at the core of its narrative. | Photo Credit: By Special Arrangement

In Neelakkuyil , the Dalit woman Neeli is betrayed by the upper-caste schoolmaster, socially ostracised, and finally driven to utter misery and suicide. But the film ends with the reunion of a happy nuclear family, when the “reformed” schoolmaster, along with his barren upper-caste wife, finally decides to welcome his son born of Neeli into their “family”. 

In many ways, the story of Malayalam cinema in the decades that followed originates from this guilt-ridden, sterile family that is forced to accept a Dalit boy born out of wedlock as their son. Love and betrayal, marriage and sterility, guilt and adoption—these are themes that underlie the “progressive” narrative of Neelakkuyil . It is also notable that the film is ambivalent about the figure of the schoolmaster, conventionally an agent of modernity and progress in the narratives of the time. His repentance and eventual “adoption” of his out-of-wedlock son into his upper-caste family has more to do with childlessness than remorse about his betrayal.

At the centre of the literary discourse and aesthetic imagination of the period was the conflict between the socialist-realist ethos that put class at the centre and the modernist-existentialist despair of the individual. Issues of caste never easily jelled with either of these trajectories of imagination and became marginal or incidental. The aesthetic discourse and artworks of the period gave one the feeling that Kerala was living in a post-caste society. The films of the time narrated the stories of secular, modern individuals who pined for love and struggled to create a new, egalitarian world devoid of all kinds of inequality and unfreedom.

In the following decades, that is, the mid 1970s to the 1990s—from Emergency to globalisation—explicit references to caste oppression and violence became largely invisible and unspoken. If at all it had to be dealt with, it was only hinted at subtly and indirectly. The upper-caste milieu became the home ground of Malayalam cinema and the Valluvanadan lingo popularised by the scripts of M.T. Vasudevan Nair, its official language. Characters from the lower-caste and minority communities either appeared at the margins or were packaged into stereotypes. Even the practitioners of “art” cinema shunned the caste question, never placing it at the narrative centre or confronting it as a core social issue 

A still from Perariyathavar (2015). | Photo Credit: By Special Arrangement

The marginalisation of the caste question was further entrenched with the rise of Hindutva politics in the national horizon. Within cinematic narratives, this took the form of macho superstar heroes who flaunted their upper-caste insignia and heritage and harped directly and indirectly upon “merit”.

Interestingly, in the late 1980s and 1990s, two major actors—Sreenivasan and Kalabhavan Mani—brought caste brought back into mainstream narratives. Sreenivasan smuggled in the issue of caste, skin colour, and merit through his scripts, and in a series of films in which he was paired with Mohanlal, Mani embodied and asserted Dalit identity in all its dimensions: masculinity, voice, figure, and power. There is a scene in Mani’s first major film appearance ( Sallapam , 1995), where one of the villagers taunts a toddy tapper (played by Mani) whose name is suggested as a singer for the upcoming village festival: “A toddy tapper to sing? How good will that sound?” That comment voiced the loud and clear articulation of the Malayalam film industry’s mindset. But Mani defied all the derision to carve a space for himself in popular cinema and music, acting in more than 200 films in Malayalam, Telugu, and Tamil. Even at the peak of Mani’s career, many major actresses refused to be paired with him. Both Sreenivasan and Mani represent an era dominated by superstars and upper-caste narratives, where one had to either find devious ways to talk about caste or pay the price for it.

It is in the new millennium, coinciding with the end of the superstar era, that caste made its reappearance. The reasons could be many. For one, identity politics was gaining momentum; Ambedkar was emerging as an icon; and subaltern resistance was gathering momentum across the country and in regional cinemas. The shift to digital technology enabled many young film-makers to experiment with new themes and formats. They toppled the macho superstar reign, brought narratives down to the human scale, and foregrounded hitherto marginalised milieus and lives. For the small and nimble Malayalam film industry, the pandemic and closure of theatres proved a blessing in disguise. Young film-makers made several films on subversive themes on shoestring budgets. Released on OTT platforms, these films received critical acclaim and also commercial appeal nationally and globally.

A still from Ozhivudivasathe Kali (2015) directed by Sanalkumar Sasidharan. | Photo Credit: By Special Arrangement

In fact, over the last decade, it is independent films such as Perariyathavar by Dr Biju, Ozhivudivasathe Kali by Sanalkumar Sasidharan, Kari by Shanavas Nuranipuzha, Pathinonnam Sthalam by Ranjit Chittade, and Aaradi by Saji Palamel that have searingly explored and elaborated on the umpteen insidious ways in which caste works in Kerala, ripping asunder its “progressive” and “secular” facade. These films narrate the subtle subterranean ways in which caste hatred and violence work through the sinews and nerves of Kerala’s body politic and social life, showing how money, language, food, community, neighbourhood ethics, and party affiliations are imbricated in it. Commercial films, too, responded to the anti-caste, anti-patriarchy mood in the air. Puzhu is the latest to emerge in this stream.

From Pathinonnam Sthalam (2017), directed by Ranjit Chittade. | Photo Credit: By Special Arrangement

Puzhu belongs to the “woke” generation and genre where popular elements are smartly combined with politically correct themes. The man at the centre of Puzhu is Kuttan (played by Mammootty), who embodies all evil in society. He combines within himself the darkest aspects of caste, state, and money power: He is brahmin, a real-estate schemer, and a police officer. And now his life is plagued by the ghosts of the past, arising both from his toxic brahminical pride and his brutally corrupt career. Puzhu’ s narrative revolves around two contrasting families, one patriarchal-autocratic and the other secular-democratic: that of Kuttan and his adolescent son Kichu, and that of Kuttappan, a Dalit stage artist (played by Appunni Sasi) and his wife Bharati (played by Parvathy Thiruvothu), who is also Kuttan’s sister. We get only scant glimpses into their past: we come to know that Kuttan’s wife is no more, and that it is Bharati’s second marriage. Kuttan’s internal conflicts and the tension between these families are aggravated when Bharati and her husband move into the apartment complex where Kuttan stays.

Kuttan is a man whose world is devoid of the world; enclosed and insulated, with all hints of the other banished from it. Casteist to the core, he is devastated when his sister marries Kuttappan. He supervises his son’s life in minute detail, through ritualised everyday routines: brushing teeth, eating, online music lessons, a daily report of events at school, homework, prayers, watching his mother on video, and going to bed. From personal hygiene to how to deal with “outsiders”, Kuttan reigns over every aspect of Kichu’s life. It is through this obsession with routine that Kuttan fights the spectres from his violent past.

In constant fear of enemies stalking him, he hunts down an easy victim, Paul Varghese, an erstwhile accomplice who was later betrayed by Kuttan himself. From his business discussions, we understand that Kuttan is involved in shady real estate projects. In effect, he is a deadly mix of fear, suspicion, cowardice, caste pride, arrogance, and violence.

A still from Puzhu (2022), starring Parvathy Thiruvothu and Appunni Sasi. The film revolves around two families, one patriarchal-autocratic and the other secular-democratic.  | Photo Credit: By Special Arrangement

The only person he opens up to is his mother, who is bedridden and paralysed; in scenes reminiscent of Alfred Hitchcock’s Psycho , Kuttan pours out his anguish, anger, and grief to her. With everyone else, he either commands or negotiates. He drives Paul Varghese to suicide, never trusts his business partner Jalal, recommends the dismissal of security staff at his apartment, dismisses the servants at his farmhouse on mere suspicion, and mercilessly gases the dog in his apartment. At one point, he even manhandles his son. In the name of the state, he puts Kabir in prison on terrorism allegations; in the name of caste honour, he murders his own sister and her husband. But the past eventually catches up with him in the form of Ameer, son of Kabir, who sneaks into his bastion like the mythical Thakshaka to take revenge.

The narrative of the film is framed by the mythological story of Thakshaka, the snake that finds its way into King Parikshit’s hideout in the form of a worm to kill him. In the film, the myth appears as a play performed by Kuttappan. We see three segments: the opening sequence where the king is out hunting in the forest; the episode where the king humiliates the sage by garlanding him with a dead snake and is cursed to be killed by Thakshaka; and the final scene of the confrontation between Kuttan and Ameer, where the sage addresses the king: “This is transmigration to take revenge; for that, the forest will reach the sea....”

Essentialising identities

In depicting Kuttan as monster; Bharati as woman caught between the anger, phobia, and ideals of men; Kuttappan as Dalit evangelist; Kichu and Paul Varghese as cowering victims; and Ameer as missionary assassin, Puzhu essentialises identities. It also conflates historic injustice and systemic violence with psychic disorder. In the process, it forecloses all the doors to reflection, ambiguity, redemption, or transformation. The film is best seen as a historical revenge against all the casteist, patriarchal upper-caste heroes and narratives that have ruled Malayalam cinema until now.

The caste factor also transforms into the cast. Ignoring the immanent power of caste in Kerala society, the film symbolically exorcises it by invoking in the star persona of Mammootty, who plays Kuttan, all the evils one can imagine: he is an abusive father, a corrupt police officer, a brutal real estate operator, and, above all, a brahmin who will go to any length to protect caste honour. It is the exact reversal of the umpteen macho-brahminical superman roles Mammootty has played in the past. So, it is a revenge within and without.

A still from Puzhu (2022). Kuttan is the exact reversal of the umpteen macho-brahminical superman roles Mammootty has played in the past. | Photo Credit: YouTube Screengrab

The problem with revenge narratives is that they only cancel the other and annul all possibilities of transformation, which is what art, as against certain forms of political activism, is all about. Revenge settles scores but does not pose any ethical challenges to the unjust order or to hegemonies of any kind: brahminical, patriarchal, or statist.

By closing in on itself, the narrative also forecloses any imagination of potential futures, locking life and the world into an endless cycle of revenge. None of the characters in Puzhu is transformed or liberated in any way internally or externally: Kuttan is killed, leaving his assassin with no future; both Bharati, who crosses caste boundaries, and Kuttappan, the Dalit artist, are brutally murdered by Kuttan; Kichu faces an uncertain future as an orphan who will be brought up by his now even more vengeful paternal brahmin family. What is left at the end is the pungent taste of death and the poisonous vapours of revenge. How liberatory is a revenge narrative to deal with the complex hierarchies and devious operations of caste? Even while sharing its anger and outrage, these are some of the troubling questions that Puzhu leaves behind.

CONTRIBUTE YOUR COMMENTS

SHARE THIS STORY

More stories from this issue

Will the Aadhaar fiasco pave the way for a stronger Data Protection Bill?

Winning moves: Why are Indians getting so good at chess?

Adivasi perspective, oil and oman’s women.

How did the Indian Museum in Kolkata commemorate International Museum Day?

Flq - the frontline quiz.

‘Ghode Ko Jalebi Khilane Le Ja Riya Hoon’ deals in bringing dreams alive

Is India’s ‘economic recovery’ a mere illusion?

How are you veg?:  A Telugu short story in translation

Terra Luna crash: When the crypto casino crumbled

A nation scarred: How the rape and murder of Kolkata doctor jolted India’s conscience

Editor’s Note: Who will educate the boy child? 

• Bookmark stories to read later.
• Comment on stories to start conversations.
• Subscribe to our newsletters.
• Get notified about discounts and offers to our products.

Terms & conditions   |   Institutional Subscriber

Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide to our community guidelines for posting your comment

• தமிழ் சினிமா செய்திகள்
• தமிழ் விமர்சனம்
• Galatta Features
• Galatta Daily
• Baradwaj Rangan Movie Reviews
• Upcoming Movies
• Corridos Of Power
• Celebrity Fashions
• Short Films
• Galatta Awards
• Tamil Telugu Kannada Malayalam English Hindi

Puzhu Movie Review (2022)

Mammootty is spectacular in ratheena’s ‘puzhu’ (sonyliv), the rare film where a man from a dominant caste is depicted as a victim.

Puzhu Movie Cast & Crew

In an early scene in Ratheena's Puzhu , a young boy reads aloud pages from a textbook. These pages are about the "toilet-cleaning community" and how Gandhiji opposed this. Many decades later, little seems to have changed. Some people from these communities may not be actually cleaning toilets anymore, but in the minds of the dominant castes, they might as well be. Mammootty's sister, Parvathy, has married one such man and Mammootty's every body cell screams in disgust that his Brahmin house, his Brahmin family, has been polluted by a "toilet-cleaner". Can you see body cells scream on screen? This great, great actor proves that you can. Internalised emotion is the most difficult to externalise in front of a camera, and Mammootty does this consistently in this film, and extraordinarily. His eyes, his clenched jaw, his posture – everything recoils from the "pollution" his sister brought into the family.

The little boy reading from his textbook – he's Mammootty' son. Ratheena shoots their scenes very formally, with almost static frames that reflect their robotic relationship. Outside this house, the camera is more free-flowing. The jarring visual juxtapositions and what they imply made me recall the weird films of Yorgos Lanthimos. (Just wait till you see the morbid video father and son watch repeatedly.) Mammootty teaches his son to share, but he also teaches the boy not to take what "they" give. This may be the first film about caste in India, where a man from a dominant caste is depicted as a victim. At least, he considers himself a victim, thanks to his sister, who has moved into the same building with her husband.

Mammootty's victimhood is literalised by the fact that someone seems to be trying to kill him. Naturally, this is what he thinks: Who else could it be but his brother-in-law, the man from the oppressed caste, who has moved into the same building, thus transcending class barriers, and has also transcended caste barriers by becoming a decorated playwright? The film is bookended by stage performances that lead us into the narrative and out of it. And Jakes Bejoy's unobtrusive score is perfect. He does not need to pile on the strings because Mammootty's nerves are already jangling with tension. As a side note, even the music Mammootty uses to relax is Carnatic music, traditionally associated with dominant castes.

His son wants to be freer, play with other children no matter what their caste or class – but Mammootty controls the boy with the force that still seeks to keep social structures intact. And is he really being attacked by someone, or are these hallucinations, brought on by his sense of victimhood due to  social order that is no longer what it was, at least in the bigger towns and cities? Ratheena has created a remarkable protagonist – played by a remarkable actor – on whom you can project the root cause of every social evil. She has a terrific sense of composition (Theni Eswar is the superb cinematographer), and the film makes every shot count. When Mammootty fixes a big bolt on his door, it feels like he'd rather live in isolation than face this changing society again.

But the writing does not match up. There is a beautiful scene where Mammootty tells his son he did not remarry after his wife died because he wanted his whole life to revolve around the boy. Mammootty, thus,  comes across as a fully-formed character, both good and evil. But the excessive focus on the protagonist leaves the  other characters stranded. Would Parvathy not feel the faintest bit of apprehension about meeting her brother again? Would her husband not feel the least bit wary about Mammootty? Yes, you could interpret this in the larger sense that the man – or anyone from the oppressed-caste – does not need to live in fear anymore. But films are about particular characters and particular situations, and I was never convinced about the relationship triangle formed between these three adults.

As for the ending, it is a major disappointment. Maybe Ratheena wanted to echo the play inside her film with a stage device: the deus ex machina, the thing that comes almost out of nowhere and brings the story to an end. But again, this is not convincing, especially when you think back about some very specific things that have happened with Mammootty. It's perhaps best to read the film as an allegory, given the title Puzhu , which means worm, and which plays a major role in the play within the film. The worm destroys a mighty king. But even this reading falls apart when we see what happens to Parvathy and her husband. Puzhu is a rock-solid debut, but by focusing on its protagonist – the dominant-caste character – it inadvertently reduces the others to lesser people, lower down in the "cast" hierarchy. The subtle message of equality would have come across stronger had everyone been equal.

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

Puzhu Movie News

Latest Movie Reviews

Thanks for visiting GALATTA.

Please turn off your ad blocker in order to continue.

Without ads, we can't offer free content to our users.

Thanks again!

Gulte Telugu news

OTT Review: Puzhu

Article by Cinephile Published by GulteDesk --> Published on: 2:22 pm, 14 May 2022

Streaming On : SonyLIV Director : Ratheena Cast : Mammootty, Parvathy Thiruvothu and others Banner : Wayfarer Films, Cyn-Cyl Celluloid Music : Jakes Bejoy Type : Movie

Ever since ‘Kasaba’ movie issue, when Parvathy opined against a problematic scene in that movie, there has been some friction that developed between Mammmoty fans and Parvathy Thiruvothu, so when an announcement came saying that Both Parvathy and Mammootty are to be seen in a movie called “Puzhu”, everyone hoped this might calm the issue that’s been between fans and actress, So there was some curiosity factor surrounding the release of Puzhu, it finally released on SonyLiv on last Friday, let’s see how the movie is:

Puzhu is a very subtle movie that mixes drama and thriller genres with a bit of psychological touch, it deals with two-story lives, one is of Kuttan(Mammooty), a police officer with old school values, and his strict nature of dynamics affecting badly to his son, other is of Bharati(Parvathy), sister of Kuttan who married a theatre artist Kuttappan (AppuniSasi) against her family wishes. However, things start to heat up when Bharati and her husband make their move into the apartment in which Kuttan is staying, what follows next is a creeping drama with some intriguing scenes consisting of menacing Mammooty.

The story by Harshad is very novel, very rarely do our filmmakers deal with issues such as stress and paranoia, addressing the severe consequences of having terrible mental health, Harshad had one hell of a story in his hands that also has a caste-discrimination angle in it, it’s a very strong story and complex one indeed, Director Ratheena tries her best to elevate proceedings very simply yet making a strong impact in our minds because of the dark nature of the story with the phenomenal presentation of Mammmoty character under negative shades.

However, it’s at the climax portion the movie fizzled out, Puzhu is a slow burner, for such movies, the ending portions are very important, they only the decide the fate of the movie, The story takes an unexpected turn that feels generic, and weak.

The best part of the movie is it doesn’t underline the points of caste issues (that still persist in our country), and overcoming that, it simply makes them with very key subtle scenes, and at pre-climax, there is a shocking scene related to that, we will be hooked to our seats at that instance but the next act makes it all go in vain.

Performances wise Mammooty is brilliant, this is easily one of his finest performances, he hasn’t performed that many negative characters, but the least he did were all exceptional, and Mammooty as Kuttan continues that legacy, in many instances his performance in that grey character Kuttan like feeling stressed out, or being cold to his son or being frightened disturbs us and evokes a mysterious and little horror feel to the movie, his face/expressions at those moments were damnn good and real making you believe this man needs some psychiatrist help, at pre-climax when his character becomes dark he’ll make you speechless. Parvathy and the rest of the cast were fine in their respective roles adding what exactly was needed with their performances.

Technical departments of Puzhu were good, Editing by Deepu joseph is neat, having just 1hr55 mins runtime is a very interesting choice for slow-burners, and music by Jakes Bejoy is superb, his bgm manages to give a spooky feel to this “Drama” movie, Cinematography by TheniEswar is fine, the color palette feels natural.

Positives :

• Mamooty’s great Performance
• Background score
• Weak climax

Final Word : Watch Puzhu for one breathtaking performance by Mammotty, But the unimpressive climax make’s it strictly an average Fare.

Tags Mammmoty Puzhu Puzhu Review

Click Here for Recommended Movies on OTT (List Updates Daily)

Puzhu Movie Review: A Matter of Fact Look At The Society

Ratheena’s directorial debut film, ‘Puzhu’, translates to ‘worm’. Jointly written by Harshad, Sharfu and Suhas, the film appears almost wormly in its treatment of various issues like casteism, Islamophobia, unresolved trauma and abusive parenthood. Created as a slow-burning thriller, the film creeps up your skin just like the worm that Takshak turned himself into to kill Parikshit, which also happens to be the mythological reference with which the film begins and ends.

The brilliance of ‘Puzhu’ lies in the fact that it does not preach what we already know. The simplicity with which it shows the bigotry of the central character Kuttan, played by the brilliant Mammoty, might remind one of the simplicity of Joe Baby’s ‘The Great Indian Kitchen’. It shows how society operates through the narrative of toxic love and also establishes how utopian the idea of change actually is.

The film primarily focuses on the tense relationship between Kuttan and his son. Being a widower, Kuttan gives all his attention to his son, which turns suffocating and toxic. Kuttan himself has survived an abusive father and clearly has unresolved issues of his own. He believes he is giving his son a much better life simply because he is not beating him up like his father used to do. Kuttan’s issues are deeply seated in his psyche, and as the narrative progresses, we realise there is really no hope left for this character. 

The film appears thematically similar to another Malayalam film ‘Kala’; however, the way ‘Puzhu’ deals with issues of casteism, toxic masculinity and oppressive parenthood is vastly different from it. While in ‘Kala’, almost all the tension had manifested itself through physical violence, there was barely any physical struggle seen in ‘Puzhu’. The violence here works on a mental level, and that is what makes it even more uncomfortable to watch because each minute of the film makes the audience brew with anticipation of something violent happening and yet gives them that relief almost toward the end of the film.

What struck me as the most interesting aspect of the film is the treatment of the character of Kuttappan, played by Appunni Sasi. He is a successful playwright and actor belonging to a lower caste who has married Bharati, Kuttan’s sister. However, Kuttappan’s rage is barely visible in his personality and action, and instead, he rather channels it in his plays. He is always seen with a smile, almost never losing his temper. He is denied places of residence because of his caste; his wife’s brother clearly despises him, and yet he takes it all with a calming smile because he is way too aware of the reality to expect anything else. The only time he loses his temper is when a government employee comments on the absurdity of his marriage to an upper caste Bharati and even after that, he is quick to resolve the issue.

Kuttappan is someone who does not bow to the system but does so with such a matter-of-fact attitude that it reminded me of the characters of the show ‘Atlanta’, who weren’t really surprised at anything that came their way because of a bigoted system.

Throughout the film, we keep anticipating something to happen. We expect Kuttan’s visible rage to topple over, and that actually does happen. Toward the end of the film, the issues of honour killing and Islamophobia are dealt head-on with extreme results. The stoicism with which Kuttan does as he pleases almost appears surreal and is bound to make the viewers question how far we have in reality come across as a society, with all the ‘wokeness’ we see around us. 

Throughout the film, we keep anticipating something to happen. We expect Kuttan’s visible rage to topple over, and that actually does happen. Toward the end of the film, the issues of honour killing and Islamophobia are dealt head-on with extreme results. The stoicism with which Kuttan does as he pleases almost appears surreal and is bound to make the viewers question how far we have in reality come across as a society, with all the ‘wokeness’ we see around us.  Image source: The Hindu

The society in which Kuttan resides might remind one of the Sunflower society (from the show of the same name), where a number of the residents believed they belonged above everyone and had a status to maintain and so denied residence to anyone and everyone who they did not deem fit. The film is a hauntingly beautiful commentary on the concept of outsiders and how it is the ones belonging to the privileged strata of the society who bring along the concept of the “other” to make their existence more meaningful and give them a sense of purpose. 

Also read: Cinema Of Male Apathy: Rape Scenes In Malayalam Films Through The Ages

The ending of the film proved that Kuttan was not wrong in thinking that someone wanted to kill him. The audience probably would have liked it better if his fears were proven to be baseless because that seemed like something an overtly self-focused person like him would do. The ending, though a bit hasty, highlights the fact that the judiciary system keeps failing innocent people and sometimes, one is pushed to take the law into their own hands. Kuttan causes four murders in the film, both actively and passively and yet nothing would have happened to him because of the class he belongs to.

The film works well as a thriller while never failing to comment on the failing society we live in. It is very concise in its plot construction as well as characterisation, and that is why the commentary it presents on heavyweight issues like parental abuse, casteism and Islamophobia never appear as preaching. It proceeds rather slowly but keeps the viewers on the edge of their seats with its foreshadowing quality. This is what makes it one of the films that should not really be missed.

Also read: Film Review: Biriyani – A Gripping Take On The Life Of Muslim Women In Kerala

Pramila is a postgraduate in English Language and Literature who is finding her way through life with a lot of chaos but definite progress. She attempts to be a voracious reader and is a bit obsessed with the new genre of sadcom shows that are on the rise. Trying to be a better feminist every day, she survives on books, tea, and all things blue. She can be found on Facebook .

Featured image source: Firstpost , Scroll

Related Posts

‘IC 814: The Kandahar Hijack’ Is A Series Desperately Trying To Be Relevant

By Dr. Guni Vats

Reviewing Tar: The Symphony Of Power

By Rohin Sarkar

‘Saripodhaa Sanivaaram’: A Typical Commercial Film With A Dash Of Vigilante Justice

By Stuti Paul Singh

• Election 2024
• Entertainment
• Newsletters
• Photography
• AP Buyline Personal Finance
• AP Buyline Shopping
• Press Releases
• Israel-Hamas War
• Russia-Ukraine War
• Global elections
• Asia Pacific
• Latin America
• Middle East
• Election results
• Google trends
• AP & Elections
• U.S. Open Tennis
• Paralympic Games
• College football
• Auto Racing
• Movie reviews
• Book reviews
• Financial Markets
• Business Highlights
• Financial wellness
• Artificial Intelligence
• Social Media

Movie Review: In ‘The Critic,’ Ian McKellen’s theater critic takes his job very seriously

This image released by Greenwich Entertainment shows Ian McKellen in a scene from “The Critic.” (Greenwich Entertainment via AP)

This image released by Greenwich Entertainment shows Ian McKellen, left, and Gemma Arterton in a scene from “The Critic.” (Greenwich Entertainment via AP)

• Copy Link copied

The arts rarely have anything good to say about critics. That they’re not generally the hero of many stories is, at the very least, understandable. More often they’re portrayed as joyless, cruel and a little pathetic; themselves failed artists who live to take down others, or, worse, sycophants in search of a famous friend.

Without getting into any sort of philosophical, or even factual debate about the nature of the kind of person drawn to criticism (besides perhaps a staunch antipathy to either job security or amassing wealth), it is safe to say that the drama critic of “ The Critic ” takes all the worst stereotypes to hysterical heights.

Set in the 1930s in London, Ian McKellen is Jimmy Erskine, a veteran theater critic whose reviews can make or break a play or a performer. He has a monastic devotion to telling the truth, as entertainingly as he can, and knows what he must sacrifice to do so.

“The drama critic is feared and reviled for the judgement he must bring,” McKellen says in an ominous voiceover. “(He) must be cold and perfectly alone.”

When one woman dares to chat him up after a play, offering her take on the material and performances, he swiftly tries to have her removed from the restaurant claiming he must be protected from the general public. When an actress, Nina Land (Gemma Arterton), confronts him about his wildly inconsistent criticisms of her (how can she be both plump and emaciated, she wonders), he refuses to apologize. And he scoffs when the new boss at the newspaper, David Brooke (Mark Strong), implores him to tone it down: “Be kinder,” he says. “More beauty, less beast.”

But what starts as satire spirals into a wildly messy tragedy with contrivance upon contrivance. This is a film that could have listened to its anti-hero’s advice to the flailing actress: Do less. That someone as great as Lesley Manville, as Nina’s mother, gets a mere handful of scenes and is only minimally consequential to it all is telling. It strives to be an intricate spider-web of compelling, intersecting stories, but few characters are fleshed out enough for us to care.

“ The Critic ,” handsomely directed by Anand Tucker (“Hilary and Jackie,” “Leap Year”) and written by Patrick Marber (“Closer,” “Notes on a Scandal”), is very loosely based on Anthony Quinn’s novel “Curtain Call,” itself more a murder mystery than this ever allows itself to be. Instead, the film is about the desperate lengths a man will go to when his job and freedom are threatened. Erskine is the kind of gentleman critic whose power and authority have gone unchallenged for so long, he’s become delusional beyond recognition. His words don’t just destroy, though. They’ve also inspired. Even the actress he obliterates time and time again admits as much: She tells him it was his writing that made her fall in love with the theater.

There are some fun ideas here, and good performances. McKellen is having a wonderful time living inside this charismatic monster who you are with until you’re really not. Erskine is also gay; an open secret that becomes a liability with his new boss and the rise of fascist thought around him. But none of it really adds up to anything poignant or enormously entertaining; its darkness is both lopsided and superficial, as most become casualties of Erskine’s aims. Theater critic as tyrant is a juicy premise; “The Critic” just can’t live up to the promise.

“The Critic,” a Greenwich Entertainment release in select theaters Friday, is rated R by the Motion Picture Association for “some language and sexual content.” Running time: 100 minutes. Two and a half stars out of four.

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

‘daniela forever’ review: henry golding and beatrice grannò are underserved in nacho vigalondo’s scattered sci-fi drama.

The 'Colossal' helmer's latest revolves around a heartbroken man who joins a trial drug program that reunites him with his deceased girlfriend in his dreams.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

• Share on Facebook
• Share to Flipboard
• Send an Email
• Show additional share options
• Share on LinkedIn
• Share on Pinterest
• Share on Reddit
• Share on Tumblr
• Share on Whats App
• Print the Article
• Post a Comment

Related Stories

Sandra oh doubles reel asian film fest donation to $100k, maura delpero's venice-winning period drama 'vermiglio' lands north american distribution , daniela forever.

Before Daniela Forever goes off the rails in a disappointing series of twists, it pulls us in with a visual style (cinematography by Jon D. Dominguez) that distinguishes it from others with a familiar premise — grief, dreams and the technology that can eliminate the first and realize the second. Nicolas’ reality is presented in a claustrophobic 4:3 aspect ratio and the muted, grainy aesthetics of an old-school camcorder. Vigalondo (who made 2016’s offbeat Anne Hathaway sci-fi Colossal ) reverts to widescreen and sharper images for Nicolas’ dream world. Here, the colors are more vibrant and the mood appropriately verges on the uncanny. 

Vigalondo’s screenplay breezes through how Nicolas learns of this secret drug program and how he becomes a rogue patient. The researchers tell him that he must read specific prompts, written to conjure certain memories, before taking the pill. But after he spills water on one of the notecards, rendering it unreadable, Nicolas thinks about Daniela and finds himself preferring that dreamscape. To hide his actions, he lies during his daily interviews with the scientists. 

Most of Daniela Forever observes Nicolas moving between his reality and the dream world, avoiding one while fiending for the other. The beleaguered DJ spends his days waiting for night when he will be reunited with Daniela. The screenplay vaguely sketches the details of his waking life, but the real action takes place in his dream world. Although Vigalondo offers compelling ideas about the mechanics of lucid dreaming — how Nicolas controls scenes and what dream Daniela remembers — the director doesn’t do much else. There’s an aimlessness to the story, and a disappointing lack of stakes . Vigalondo teases some complicated threads of Nicolas’ personality, but never digs in. Instead, Daniela Forever resolves any tensions before they can ever be confronted. 

The same is true of Grannò’s Daniela, who at one point seems to possess a consciousness of her own like Samantha in Spike Jonze’s Her . Her character — a digital artist battling her own depression — comes off as confusing when considered within the film’s own logic. From what we know about dreams, they are constructed of experiences we have lived, rarely ones we haven’t. 

Daniela Forever is a puzzling film that seems insecure in its own resolution. As Nicolas gets more turned around by the differences between his dreams and reality, so, too, does the film lose track of its purpose. And that doesn’t inspire much confidence — even for the most compliant of viewers. 

Full credits

Thr newsletters.

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Samurai thriller ’11 rebels’ to open tokyo international film festival, ‘friendship’ review: netflix funnyman tim robinson conquers the big screen in a squirmy bro-com co-starring paul rudd, hugh grant on why he has turned down starring in some big-budget studio films, ‘beetlejuice beetlejuice’ writers break down those two spectacular needle drops, toronto: daniel craig and nicole kidman take big swings in, are serious contenders for ‘queer’ and ‘babygirl’, tim blake nelson on playing an aging boxer in ‘bang bang,’ marvel and why he loves oldenburg.

• Paralympic Games 2024
• Paris Olympics 2024
• Lok Sabha Elections 2024
• UK Elections
• Firstpost Defence Summit
• Entertainment
• Web Stories
• First Sports
• Fast and Factual
• Between The Lines
• Firstpost America

The Buckingham Murders Movie Review: Kareena Kapoor’s eyes does all the talking in this engaging film

Immersive, engaging and edgy, Hansal Mehta’s directorial and Kareena Kapoor Khan starrer The Buckingham Murders is a must watch not only for bereaved parents, but for all. The sharp silence of the film makes it all the more gripping. read more

Language: English, Hindi

Director:  Hansal Mehta

Cast:  Kareena Kapoor Khan, Ash Tandon, Ranveer Brar, Daniel Eghan, Rukku Nahar, Keith Allen

‘May no parent ever have to outlive their child’. In fact, this is the saddest and the darkest thing that can happen in any human being’s life. Hansal Mehta’s The Buckingham Murders film shows how Jass Bhamra (Kareena Kapoor Khan) is dealing with the grief of losing his son. There is something really special to this slow-burn crime thriller which one shouldn’t miss.

The film starts with Jass (Kareena Kapoor Khan) going on transfer to some other city in the UK because the house where she lives and the city has memories of her baby son whom she lost recently in a gun shootout by a fanatic. Though she got justice and the man was caught, but that is not going to bring back her child.

Everybody has a different way of dealing with grief and so does British Indian detective Jass Bhamra (Kareena Kapoor Khan) and she has beautifully depicted it just through the expressions of her eyes. Immersive, engaging and edgy, The Buckingham Murders is a must watch not only for bereaved parents, but for all.

The story goes this way Jasmeet Bhamra aka Jas, (Kareena Kapoor Khan) has to solve a murder mystery British town even though she is not in the good state of her mind after losing her only son. The wounds are deep and fresh. She is struggling to cope with her mental state. It’s a complicated case and it’s about a missing child. Though she insists to her boss that she is not in the right frame of mind to deal with this situation and to solve the case, her boss insists that life has to go on and that duty comes first.

The Buckingham Murders is not only murder mystery, but deals with several issues like immigration problem, communal disharmony, teenage problems, drug abuse and LGBTQ issues. I have huge respect for Hansal Mehta’s craft for bringing out the best in all actors and his way of dealing with issues that are closer to our hearts.

Kareena Kapoor Khan film The Buckingham Murders teaches us that we shouldn’t hurry with justice especially when there are kids involved. We all know that ‘justice delayed is justice denied’. But at the same time we need to understand that ‘justice hurried is justice buried’. And that’s exactly what the film is about. When a Sikh boy goes missing from a British town, a Muslim boy becomes the prime accused. But is the Muslim boy actually the culprit or is it someone from the family?

Haunted by the loss of her only son, forty-something single mother, Jass Bhamra (Kareena Kapoor Khan) has no other option but to continue with her duty. She immerses herself into work, yet the snap shots of her son comes flashing in front of her eyes like moody mirages. She is a strong believer of stoic philosophy where she suppresses her emotions. Instead of sharing it with others, she believes in crying herself to sleep. Though occasionally she does have her emotional out bursts, but she is mostly calm. Her father is an only support and the old man too tries his best to spend as much time as he can with his daughter who is going through a terrible emotional turmoil.

Jass Bhamra’s (Kareena Kapoor Khan) grief is very personal and she doesn’t expect others to understand or empathize with her.  All she wants is for the people around him to be sensitive when it comes to kid issues and especially when she is handling a complex case which involves kids, she believes that one needs to be all the more careful and that no kid should suffer for a crime he hasn’t done.

The best thing about the film is that there is no unnecessary shouting or drama, there is sharp silence which is like a knife making a deep wound and that is what makes The Buckingham Murders movie all the more gripping. The film has also garnered tremendous appreciation at the BFI London Film Festival 2023 and the 2023 Mumbai Film Festival, with people speaking highly of the film.

The Buckingham Murders is releasing in theatres on 13 September 2024.

Rating: 4 out of 5

WATCH the trailer of Kareena Kapoor Khan’s  The Buckingham Murders   here:

Lachmi Deb Roy is the entertainment editor of Firtspost, Network18. She reviews films and series with a gender lens. Her interviews are called 'Not Just Bollywood' because she takes huge interest in world cinema. OTT over theatrical releases is her preference unless and until its a King Khan film. She takes interest in fashion, food and art reviews too. see more

Related Stories

Kareena Kapoor Khan’s The Buckingham Murders First Review: Immersive, engaging and edgy

Ishaan Khatter, Nicole Kidman starrer Netflix’s The Perfect Couple review: A treat to the eyes, but lacks a sharp plot

Thalapathy Vijay's GOAT Movie Review: Sexist, lame & completely mindless, but entertaining

Netflix's IC 814: The Kandahar Hijack Review: Vijay Varma’s performance is top notch in this highly immersive series

Adam Driver's 36% Rotten Tomatoes Dinosaur Sci-Fi Is Thrilling Prime Video's Global Top 10

Your changes have been saved

Email is sent

Email has already been sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Adam Driver’s dinosaur sci-fi adventure 65 may not have won over critics with its 36% Rotten Tomatoes score , but it’s proving to be a hit with audiences worldwide. Currently sitting at #3 on Prime Video’s Global Top 10, 65 is finding new life via streaming, landing in the top 10 in 28 countries across the globe. The wide-reaching success underscores the timeless appeal of dinosaurs and survival thrills for viewers young and old. Let's face it, who can resist one of our biggest stars going head-to-head with some prehistoric predators?

Directed by Scott Beck and Bryan Woods , 65 tells the story of an astronaut from another world, played by Driver , who crash-lands on a prehistoric Earth and must battle dangerous creatures to survive. Along the way, he encounters a young girl ( Ariana Greenblatt ) and the pair must work together to survive while Driver attempts to get back to his ship and escape.

Is '65' Any Good?

Well, it's fair to say opinions were mixed. Collider's Chase Hutchinson wasn't exactly a fan , claiming it wasted Driver's talents. He wrote in his review:

"It was never going to be a masterpiece by any means, but it is bizarre just how boring it all feels. The main event of it all, Driver fighting a T-rex, is something the film teases for all its worth before it unfolds in the conclusion. This proves to be disappointing as, after all this wait, the sequence just doesn’t feel worth it and passes rather quickly. Once more, the persistent problem is how disconnected the two adversaries are and how poorly staged the entire thing remains. When you then look back on the entire experience, it is fascinating how fleeting it is and how little of an impact it all leaves. Though there are movies that are worse than 65 , it is part of a select few that manage to utterly and completely squander their own potential."

While the film struggled to impress critics during its theatrical release early last year, it seems the movie’s sci-fi action elements are resonating with home viewers. With stunning visual effects and intense action sequences, 65 delivers the kind of edge-of-your-seat excitement that makes it a must-watch on Prime Video. In the United States, the movie is currently available to view through Netflix and via video on demand, through retailers including Apple TV , Amazon Prime, and more. Despite mixed reviews, 65 is showing that the combination of Driver’s star power and the enduring fascination with dinosaurs is more than enough to draw in global audiences. Its inclusion in the top 10 charts in countries ranging from Brazil to France speaks to the universal appeal of "there's a big scary monster near us, we need to run, or it'll eat us."

As we’ve seen time and again, dinosaurs are box office (and streaming) gold, and 65 is further proof that audiences still can’t get enough of prehistoric thrills — even if the critics aren’t entirely on board. If you haven’t yet joined the ride, 65 is ready and waiting for you to stream on Netflix in the US and Prime Video across the world .

Watch on Netflix

• Adam Driver