kaayam 2021 movie review

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Kanakam Kaamini Kalaham (2021) Malayalam Movie Review – Veeyen

There is without doubt, way too much going on in ‘Kanakam Kaamini Kalaham’. And despite all this if the film strikes you as an empty experience, and sputters and drags for what seems infinity, it has only the aimlessness and buffoonery of its script to blame.

The opening credits of Ratheesh Balakrishnan Poduval’s ‘Kanakam Kaamini Kalaham’ makes you drop your jaws in admiration, as a voice over mimicking a stage announcement for a play that is about to start, loudly proclaims the names of the people behind the camera. Quite an interesting way to kick start a film with an equally exciting title, and you pat yourself on the back for finally deciding to opt for a subscription on Disney + Hotstar.

Well, that mouth that you had initially let the air to wade in without much of a thought, will soon prove to be in no hurry to close itself, given the outrageous tumble of events that follow the credits. Poduval’s new film is a far cry from his way too impressive debut, and would in no time have you squirming in your seats.

A Nivin Pauly who seems to have put on a bit too much of weight, probably to get under the skin of Pavithran, whom he plays on screen, is paired opposite Grace Antony, who plays his disgruntled wife Haripriya. There are quite a few axes that she has to grind with her spouse and her decision to marry a junior artiste who shows highly disturbing signs of turning into a loser, seems to be just one of them. And that too, at the cost of her own highly promising career as an actress on television, though the promising bit has few takers but herself.

Poduval’s film starts off with the couple deciding to bury the hatchet and start anew, and with Haripriya being extremely pleased with the first set of golden danglers that her husband has bought for her. Little does she realize that the man has managed to buy the jewellery from a local rolled gold shop and off they set off to a hotel in Munnar, she oblivious of her husband’s plans to save his own skin, and he with yet another devious strategy to blow some sand into her eyes.

The hotel on the Hilltop is where the rest of the action takes place, and Poduval puts in place a long line of characters starting off with the Hotel Manager Joby (Vinay Fort), the receptionist Shalini (Vincy Aloshious), the hotel staff Manaf Khan (Rajesh Madhavan) and Vijesh Nair (Sudheer Paravoor), the guests at the hotel – the novelist Balachandran (Joy Mathew), the drunkard Sura (Jaffar Idukki), the psychologist Chandrachoodan (Sivadasan Kannur), and several others.

What makes ‘Kanakam Kaamini Kalaham’ a lockjaw enterprise that I had initially mentioned it to be, are painful contrivances in the script that strive hard to cook up some matter worth some laughter, but in vain. The three day get way is as draining to the couple as it is to us, and it steadily progresses from exasperating us to a point of sheer annoyance where you almost reach out to shut the screen off.

It’s a largely bogus journey, and I believe it has been purposefully crafted that way, to achieve that sheen of humour that it never does. The conflicts are way too simple, and the less said about the plot and the characters, the better. It also fails to explore the few, dramatic possibilities that it had and with no element of surprise around, emerges to be a catnap for anyone who has dared to take the risk of watching it late night.

The performances, for the most part are way over the top, as if everyone has taken to the dictum that the louder you are, the greater are your chances to tickle a funny bone. Goes without saying that the ploy backfires, and even dependable actors as Nivin, Joy Mathew and Vinay Fort, astonish you with their exaggerated feats. On the contrary, the two women in the film – Grace Antony and Vincy Aloshious) get their act precisely right, and make up for most of the mediocrity that is splattered all around, with their controlled performances.

Verdict: Disappointing

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Kanakam Kaamini Kalaham movie review: Nivin Pauly and gang excel in this deftly-staged comic caper

A hotel in Kanakam Kaamini Kalaham (KaKaaKa) with warm, inviting, and colour-coordinated interiors becomes complicit in several absurd shenanigans perpetrated by its principal characters. It seems to make people do crazy things, but not to the extent of going on a murderous rampage like Jack Nicholson in The Shining (look for visual references to this one). No, don’t worry. KaKaaKa is not a supernatural thriller. But when the characters’ inner venom comes out, the result is, to quote Vadivelu, “Total damage!”

First, there was Doctor (Tamil), then Thinkalazhcha Nishchayam (Malayalam), and now KaKaaKa (Malayalam again). I mention these three titles together because they provided for me a much-welcome respite from the endless succession of grim thrillers from Malayalam cinema lately. Just like the first two, KaKaaKa proves itself to be a soothing balm for those reeling from the after-effects of pandemic-induced anxiety. And anyone who appreciated Ratheesh’s delectable brand of dark humour in his debut feature, Android Kunjappan, might find themselves with a wide grin by the time the end credits roll.

I was sporting one throughout. KaKaaKa exudes the vibe of a P.G Wodehouse novel combined with an eye-popping production design that recalls the films of Wes Anderson. Right from its first frames, one can see that so much love has gone into each department. The film is all about warm, immaculate presentation. To begin with, the conventional “thanksgiving” approach in the opening credits gets ditched in favour of something refreshingly unique. A self-deprecatory tone is established here and then maintained for the remainder of the film. You see actors not only taking a dig at themselves but also each other. 

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Nivin Pauly is at its most restrained, playing an acting coach with a fondness for method acting. But he’s got only... two students. One glance at his character’s behaviour, and you would think the man wants to convince everyone he is the descendant of the legendary Lee Strasberg. His attitude is at times evocative of “B.Com First Class” Mohanlal in Nadodikkattu. He is married to an ex-serial actress (Grace Anthony) who, just like her husband, seems to be bothered by insecurities of her own. She thinks he looks down on the very fact that she used to be an “ex-serial actress”. When the film opens, we see them through the eyes of a relative of theirs, played by the ever-reliable Sudheesh. He is a mediator, shifting his attention —along with ours—between husband and wife, trying to patch things up between them, but eventually finding himself in a soup.

KaKaaKa makes you assume it’s about something and, then halfway into it, makes you realise it’s about something else. Though much of the events are limited to a hotel, the deft, humorous interplay between the characters is so immersive to make one forget that the whole thing takes place in one location.  It’s essentially a social commentary disguised as a minor robbery tale. We meet an assortment of eccentric characters, each with amusing peculiarities and the most suitable actor cast in each role. 

Ratheesh uses them to make a social commentary on the complications arising out of tricky man-woman/man-man-dynamics, the danger posed by certain words, the inappropriate timing of their usage, and the various “experts” with their infinite opinions (especially on social media). The hotel then becomes, in essence, a visual analogy of a Clubhouse room with high BP. As in Android Kunjappan, the film is a splendid showcase for body language-based humour executed through meticulous blocking. It’s not often that we get to see such effective reaction shots that, in some instances, are not necessarily trying to induce sudden bursts of laughter but keep things from getting too serious.

There are, however, multiple instances of laugh-out-loud humour and what’s impressive about these moments is that the characters often accomplish this by not indulging in any over-the-top shenanigans. Take, for example, a scene where a conversation between an author and another character becomes an annoying hindrance for another character who is simply trying to reach the top floor. Or, another hilarious situation where a marriage counsellor struggles to come up with a proper reaction to a tense situation despite claiming to be an expert in ‘emotions’.

It reminded me of that joke about Will Smith’s character in Hitch being unable to solve his relationship problems despite being a relationship expert himself. Another notable moment is a debate in which the merit of a drunk character’s ‘vivid’ imagination gets questioned. Or, what about the strange phenomenon where one character says something, and you would see another character, who has not interacted with the former, utter the same line in a different instance. There is some odd telepathic spell at play here. Unlike Android Kunjappan’s slightly dark finale, KaKaaKa ends with a comical high—the end credits sequence left me in splits! What a fabulous way to end a film! 

Stephen Fry once described his experience of reading P.G Wodehouse thus: “You don’t analyse such sunlit perfection. You bask in its warmth and splendour.” One must savour KaKaaKa in the same way.

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Kayamai Kadakka Review: An intriguing slow-burner

Rating: ( 3 / 5).

Kayamai Kadakka  begins with two Facebook friends, both named Santosh, meeting for the first time. One is a meek, soft-spoken person (Masanth Natarajan) while the other one (Vatsan M Natarajan) has a mysterious aura to him. They both share similar thoughts about crimes against women, which has brought them closer in cyberspace. While the former is one among many keyboard warriors who call for the heads of rapists, the other one believes in implementing the same in real life.

Kayamai Kadakka means 'crossing the depraved/immoral behaviour'. Debutant director Kiran R tries to convey this idea by having two individuals with conflicting beliefs at the helm. Santosh, who is in a vigilante mode tries to inspire the other Santosh to be part of what he calls a movement. Though initially apprehensive, the latter eventually ends up crossing the threshold of morality.

The film works on a psychological level as there is a constant tussle when it comes to whom we, the audience, should root for. While both the lead characters want justice to be served, one believes in playing by the system while the other wants to be the judge, jury, and executioner. Towards the end, a sense of ambiguity creeps in as we are left pondering about the possibility of a Fight Club -like narrative.

Director: Kiran R  

Cast: Masanth Natarajan, Vatsan M Natarajan

Streaming on: Movie Saints

Though Kayamai Kadakka is shot with a 5-member crew on a minimal budget, the film's overall quality looks sleek with moody visuals and top-notch sound designing -- an integral part of indie films. The sober, mist-laden atmosphere that cinematographer Sundar Ram Krishnan creates amps up the mood for what is essentially a psychological thriller.

Most of the film's screentime is hogged by the two leads, Masanth Natarajan and Vatsan M Natarajan, and they both impress with refined performances. Masanth's Santosh is a meaty role with an overarching arc while Vatsan's has shades of both sanity and insanity, making it a challenging one to play.

Filmmaker Kiran respects the sensibilities of the audience and doesn't bother to spoon-feed the basics. There are quite a few instances where it is left to the audience to have a moment of introspection, and the leisurely pace at which the film moves also helps with the process. The film has many such promising takeaways and the minimal runtime of just around 100 minutes aids in keeping the plot watertight. With the right dose of relatable and convincing moments, the film deals with an issue that is not going away from society for a long time to come.

In short, Kayamai Kadakka is an intriguing addition to the Tamil indie scene.

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A R Rahman's songs and BGM lifts the movie big time, without which this would have been an ordinary gangster movie. The movie starts slowly, establishes the characters and gets to full throttle at the interval block, and then tries to maintain the pace in the second half as well. Waiting for Part 2.

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Deft handling of a difficult subject by the Director! Worthy of watching this movie once! Good Performance all around!

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'Kanakam Kaamini Kalaham' movie review: Rollicking and funny

Kanakam Kaamini Kalaham , written and directed by Ratheesh Balakrishnan Poduval hinges on a simple, light-hearted theme, intended to trigger laughter and laughter alone.

Pavithran, played by Nivin Pauly, is a junior film artist running a fledgling drama school. His wife Haripriya, played by Grace Antony, is a TV serial actress. The mismatch of expectations and realities drives a wedge in their relationship. And, they live separately untill Shalini's uncle Shivan (Sudheesh) brokers a patch-up. Though broke, Pavithran manages to get a pair of dangles and sets a trip to Munnar in a bid to please the disgusted Shalini.

The narrative gathers steam as the couple reaches Munnar and checks in to a hotel. The events that unfold thereafter form the crux of the movie.

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We see Nivin Pauly in new avatar. However, we miss out on the intensity and focus on his charcter, something which was never noticed of the actor in his previous movies. Slightly bulky, Nivin Pauly is seen gasping to time it well in dialogues and action at times.

The ensemble cast will be noted for their fabulous performance. Especially, the characters of Grace Antony, Jafar Idukki, Vincy Aloshious and Vinay Forrt are outstanding. Their immaculate timing and histrionics keep the strands of the plot together.

The main drama carries the real-life heft, but the sequences and interactions are dolled out frivolously. The overdose of verbal pun and idiotic goof-ups meant to generate situational humour often takes the drama to a non-sensical plain. But one would definitely sit through the whole course with the curiosity of watching a sitcom.

The heat and pace of the events never go amiss in the camera cranked by Vinod Illampally. The music and the background score by Yakzen Gary Periera & Neha Nair elevates the fun mood the drama.

The movie succeeds in pitching itself as a light entertainer with no deeper meaning or message to offer. An one time watch, Kanakam Kaamini Kalaham won't disappoint you much. But Nivin Pauly urgently needs an effective fitness regime if he is serious about his acting career.

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Netflix’s new comedic thriller “Bodkin” opens with the show’s protagonist, Gilbert Power ( Will Forte ), stating, “When I started this podcast, I didn't expect to solve anything. I didn't expect it to change my life.” It sets up the characters' preoccupations well, and also exposes the main problem with the genre their fictional series is embedded in. The series follows American true crime podcast host Gilbert and his researcher Emmy ( Robyn Cara ), who team up with journalist Dove ( Siobhán Cullen ) to uncover the mysterious disappearances that plagued the Irish town of Bodkin decades prior. 

As these amateur detectives continue to dig deeper for answers, they garner the attention of the town's various inhabitants. Some are fans of the show, while others are more than hostile to the new visitors. Despite this, Gilbert and Emmy are determined to get another hit on their hands, while Dove becomes entwined with the mystery and will stop at nothing to expose their identity. The three of them start off on the wrong foot, but as the series unfolds, they grow to care for one another, and surprisingly, their different methods of interviewing and interrogating work in the group's favor. 

From the first glares the trio receives, it’s clear that Bodkin and its community are hiding some big secrets. On their first few days in the town, this causes a malicious hit-and-run (thankfully, it doesn’t end in death) and their driver’s car to be set on fire. The town’s charming scenery, which often catches Gilbert off guard, covers up a woven bed of secrets that each member of the community wants to keep hidden. This is the main point of contention in the series and works well to showcase the failings of the true crime genre.

The series, in its first few episodes, is about the repercussions that come with telling a story about a place you’re not originally from and a place whose people don’t trust outsiders. Whether it be a podcast or a documentary, the relationship that listeners or viewers have with the media they consume is one filled with discord. Right off the bat, Gilbert says to Emmy that “the best stories are always mysteries,” showing us that he himself doesn’t understand that the stories he’s telling belong to real people. Dove on the other hand aptly compares true crime podcasts to “public hangings” putting her and Gilbert and Emmy on opposite sides of the play field.

As the series further unfolds, the themes it was attempting to juggle aren’t necessarily gone from “Bodkin’s” inner workings. Still, they do take a backseat compared to the actual mystery at hand. However, with episode 4, the show begins to give a voice to the supporting characters, giving a voice to the people whom the trio of protagonists unknowingly exploit. The most interesting here is undoubtedly Seamus (David Wilmont), one of the town's most illusive, and powerful members. While Dove is convinced that he is responsible for the disappearances of the three people who went missing during the Samhain festival, Gilbert isn’t so convinced. 

In an attempt to get more information from the man, Gilbert spends the better part of episodes 4 and 5 with Seamus. In their time together, it becomes apparent to Gilbert and us that there’s more to him than meets the eye. The growing relationship between the two is almost heartwarming – if such a word can exist in a black comedy like this – and the chemistry between Forte and Wilmot is electric. As they drive around to settle a debt Gilbert has with a bar patron, the two confide in each other about their romantic and life failings. As their relationship becomes more sincere, Gilbert becomes increasingly desperate for Seamus not to be the evil man Dove is convinced he is. It’s the best relationship in a series that hinges on brief or extended conversations and truly allows the show's writing and acting to shine.

Ultimately, “Bodkin” succeeds in a landscape of thrillers and true crime expansions. It expertly crafts a riveting mystery but also fleshes out its central – and supporting – characters. A series like this hinges on the chemistry of the show’s cast, and thankfully, each and every player gives it their all. Dove’s determination and coyness mix well with Gilbert and Emmy’s sweet disposition and, in turn, allow the Americans to become detectives in their own right. The difference in how they not only see the world but see their professions allows them to crack the case wide open and expose that this cold case might not even be lukewarm. 

Instead, the case at hand is a simmering beast waiting to be exposed, lying dormant beneath the soil of Bodkin for decades. It’s been waiting to be unearthed, and with the work of Dove, Gilbert, and Emmy, it soon will be. Each secret is mentioned by a passerby fleetingly, though the biggest ones stay hidden between the tight-lipped mouths of the show's most important players. The story never overstays its welcome and instead unfolds into one of the most entertaining shows of the year. Underneath it all is a warning that perhaps some things don’t need to be uncovered, and perhaps they’re left better off dead. 

All episodes were screened for review. On Netflix now.

Kaiya Shunyata

Kaiya Shunyata is a freelance pop culture writer and academic based in Canada. They have written for RogerEbert.com, Xtra, Okayplayer, The Daily Beast, AltPress and more. 

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Kingdom of the Planet of the Apes

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for a... Read all Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike. Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.

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