malayalam movie review master

'Master' movie review: Many strengths, yet, not remarkable

It’s a tricky thing, a poisoned chalice if you will, isn’t it— this joining hands with a star? It must be pretty hard to tell a genuinely authentic story when you are tasked with injecting star essence into the veins of fans once every few minutes and make story progress only while the fleeting high lasts.

The first warning that this is likely to happen throughout Master is how long the film teases you with the introduction of JD, as his footwear remains in focus, encouraging you to pay obeisance.

To be fair to director Lokesh Kanagaraj though, he does seem to have put in a shift to try and offer creative doses of Vijay intoxication in this film.

If JD (Vijay) is running into trains and fighting in buses during his opening stunt sequence, the justification is that it’s a pressing situation with two criminals seeking a swift getaway. If JD is playing kabaddi to the strains of Ghilli’s ‘Kabaddi Kabaddi’, the justification is that the sport is the only reasonable way through which the master can get rough with some of the unruly inmates of the juvenile detention centre. And yet, these arguments, while attempts to root the star-pandering into a story, do not always hold muster.

The biggest giveaway is when Bhavani (Vijay Sethupathi) breaks character to share acknowledgement of the ‘I’m waiting’ pre-interval line that’s become pretty much routine now in Vijay films. More damning evidence comes in that rather underwhelming, overlong faceoff at the end, as, like many an actor-predecessor yearning for applause, Vijay rips off his shirt. Again, many of these star events in Master are cleverer than in your average mass film and do cause adrenaline surges — but the question is, what do they come at the expense of, especially in a film from one of our most promising filmmakers? In such films that show cognisance of the star at their centre, the protagonist’s skills need no justification.

Hence, JD is already quite the expert in several sports and games (kabaddi, carroms, football…), and an ace in combat as well, including hand-tohand, handling of weapons like baseball bats, and even archery (a joke works well, but the actual stunt sequence doesn’t). It’s the antagonist that needs justification, so he can rise to become an equal, even if it’s played by Vijay Sethupathi. These form some of the most enjoyable portions in Master, which begins so promisingly with an origins story for Bhavani. There’s even an almost mythical story behind the powerful punch he can pack with his right hand (Kill Bill, anyone?). It’s an idea that wonderfully suits Vijay Sethupathi’s build and plays right into his apparent lack of agility. Across the film, the only weapon that matches up to his right hand is JD’s metal bracelet (vibranium?) —whose importance Lokesh painstakingly builds up over several scenes, with minor characters borrowing it to attain strength. I enjoyed these touches.

Master is mounted on the appeal of its two main characters, JD and Bhavani, and that’s why the film is constantly intercutting between developments in their respective lives, as their trajectories hurtle towards each other— even if not as methodically as, say, in a Thani Oruvan. All the waiting around for these characters to finally meet necessitates a colossal showdown, not just the rather formulaic sequence that we instead get. This is a pity, because with almost every other stunt sequence in this film, there is evidence of inventiveness in thought and execution.

One happens amid a student riot, another on a kabaddi field, and yet another — my most favourite of the lot — inside a police station, as Anirudh’s guitar riffs seem to channel the power of the mythical lightning that brightens up the setting of the first conversation between JD and Bhavani. In a film that has a ‘Thalapathy’ and a ‘Makkal Selvan’, composer Anirudh’s is a heroic musical presence, and the source of much energy and entertainment. Quite in keeping with the composer’s style, it’s rock-heavy but that’s not all. Notice the retro beats as JD is resting in an auto. Notice the explosion of ‘thara local’ beats in Vaathi Coming that heralds the awakening of a star without the help of lyrics. Notice the Carribean twist in a track that turns out to be JD’s ringtone.

Above all, notice the wonderful ways in which he teases the arrival of the Master theme track, and notice how it is repeatedly utilised to cause adrenaline surges, especially in that interval block. Also, in that sequence, what a wonderful idea to use JD stepping out of prison as a metaphor for his finally being able to break out of his shackles of indifference, out of his alcohol-induced stupor. As for how the songs are used in the film, I have to say that by and large, they feel like flab. ‘Andha Kanna Paathakaa’ is the detour of a woman so charmed by our hero, while ‘Polakattum Para Para’ doesn’t exactly serve us any new information about Bhavani.

The song that caused me the most discomfort is ‘Kutty Story’, coming as it does during a particularly delicate period in the film. It’s a time when you are wondering how this strange, new master is going to adapt to his new environment, how he is planning to win over the aggressive juvenile criminals that are his new students, and all you get is a man who struts around, throwing generic English advice. The kids are all shown to buy it, but I didn’t, not for a minute. The whole film could be imagined as a sequel to Nammavar (1994), to which there’s an acknowledgement in the end credits (note that Lokesh’s Kaithi is acknowledged to bear the influences of Virumandi).

In Master, there’s even the character of a male student reformed likely by JD in the past. I enjoyed that JD doesn’t indulge in old stories about himself and shows much awareness of the impact they could have… on Vijay’s fans (it’s pretty much Lokesh showing awareness of the responsibility of handling a star). JD takes recourse in humour as a means to avoid launching into a flashback. Much like in the two other Lokesh films, here too, there’s plenty of humour: my favourite jokes, of the dark variety, are in the Bhavani portions. Be it when he auctions a man’s life in the beginning or later, shows great frugality (picking up a chicken piece, saving up a video camera…), Vijay Sethupathi shows a real taste for such humour, and does it in a way that doesn’t come at the cost of his character’s potency.

When Master begins with a story not about JD, but about Bhavani, you could be forgiven for wondering if perhaps, just perhaps, Lokesh might have managed to hold his own against the rampaging stardom of Vijay. As Master winds up though and Bhavani feels only like star fodder, it feels like somewhere along the way, the film faltered in maintaining the difficult balance of telling an authentic story whilst consistently delivering stardrawn highs. In this fim that makes pertinent points about underage drug and alcohol abuse, there’s a sharp dialogue that states that the first troublesome act of a juvenile is usually one done in emotion.

It goes to explain that they then lose their way, after becoming prey to addiction, and further warns against the dangerous charms of intoxication. On some level, these insightful lines of advice felt almost like a commentary on the dangers posed by star worship and its charms to authentic storytelling. Mind you, as a young director tasked with handling a star like Vijay, Lokesh has still managed to do a fair job with Master, but if we were to remember that he is among our most promising filmmakers, well, this third film feels rather unremarkable, and surely, we must hold him to higher standards?

Director Lokesh Kanagaraj

Cast Vijay, Vijay Sethupathi, Arjun Das, Malavika Mohanan, Andreah Jeremiah, Shanthnu Bhagyaraj, Gauri Kishen

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Masters Malayalam Movie

Masters is a 2012 Indian movie directed by Johny Antony starring Prithviraj Sukumaran, M. Sasikumar, Ananya and Pia Bajpiee. The feature film is produced by B. Sarath Chandran and the music composed by Gopi Sunder.

Director: Johny Antony Producer: B. Sarath Chandran Production Company: Sincere Cinemas Music Director: Gopi Sunder Song Lyrics Writer: Shibu Chakravarthy Cinematographers: Madhu, Neelakandan Editor: Ranjan Abraham Art Designer: Manu Original Story Writer: Jinu Abraham

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Master, Starring Vijay: Flaws And All, Lokesh Kanagaraj Delivers A Classy “Mass” Movie

Director: Lokesh Kanagaraj

Cast: Vijay , Vijay Sethupathi, Malavika Mohanan, Arjun Das

Dear Lokesh Kanagaraj ,

I am a fan. I love your Tarantino -esque approach to cinema, where you take a bit from this film and a bit from that film and make it totally your own. As Godard said: It's not where you take things from — it's where you take them to. In Maanagaram , you took the hyperlink format of narration and gave it a moral centre. You made a film where the anonymity of the characters (they weren't even given names) mirrored the anonymity of a big city. In Kaithi , a film I am less a fan of than most people, you took the Hollywood "genre" thriller (like a Die Hard ) and made a video game-like movie that moved from set piece to set piece. And now we have your most challenging work yet, Master . In a sense, it is easier to make a Maanagaram than a Master , because…

Because in a Maanagaram , you were new and your cast was (relatively) new and there were no expectations. Here, there's one part of us that's waiting to see "A Lokesh Kanagaraj Film". There's another part of us that's waiting for "A Vijay Entertainer". And I think it is to your credit that you have made something that's more the former. I can't say I loved Master without reservation (and I'll get to the problem areas later), but after a long time — probably after Mohan Raja's Velaikkaran — I got the sense of a "mass" movie that's classy. For one, I have not seen Vijay being this vulnerable in ages. Post 6pm, the character (a college professor named JD) turns into an alcoholic. A father-figure actually tells him he is losing control. JD is the kind of guy the Vijay character in a usual Vijay movie would end up giving a "drinking is bad for you" lecture to.

JD is, refreshingly, a bit of a dick. (A likeable dick, sure!) You don't sentimentalise the protagonist, like you did in Kaithi . In that film, I felt you cheapened the material with all that melodrama about a daughter waiting for her father. (I still wince whenever I think about that " jimikki scene".) But here, JD's past is dismissed in a flash, in a couple of dialogues by Nasser. What he was and why he became that way — that isn't as important as who he is now and what he is going to do. The way JD is woken up from his dickishness (by a tragedy) and a subsequent fight (which begins with a letter being torn apart) — these are superb examples of classy mass-film writing.

Even the hero-intro scene is classy. You follow the usual feet-back-face reveal format, but the way you shoot it is so cool, so different. That's one thing I enjoyed throughout Master : your infectious enjoyment in staging your scenes. In an early action stretch inside a train, when a man gets clobbered and crashes against poles and seats, the camera doesn't capture all this in a wide shot: it moves with the clobbered man, so we feel every bit of every hit. In another action scene, set in a college, the background is filled with people running, so there's a genuine sense of chaos. And in the climax, I loved how the camera does 360-degree turns around JD and Bhavani, but goes in much tighter than usual — we seem to be inches away from these men.

The palette is classy. It's  not the typical explosion of colours we've come to expect in a Vijay movie. This is a sober story, and the browned-up visuals are just perfect. But the classiest feature is the pre-credits set-up, which you recently said was your "signature". Vijay fans are probably going to hate me for saying this, but this is the best stretch of the film: it's about the birth of the villain, Bhavani (played as a grown-up by Vijay Sethupathi). We see a terrified boy who's just been orphaned, and he slowly transforms into a terrifying killer. The darkness in Sathyan Sooryan's cinematography is not just style : it's a reflection of the characters and the settings. Bhavani also gets the film's best masala touch, which feels almost… mythological . He has fists of steel. Bhavani uses his adversity to his advantage. Instead of succumbing to the torture he's put through, he becomes stronger. And what a fabulous touch that this strength results in him becoming evil !

So why, then, does the rest of the film feel undercooked? After such a great villain-intro, was it so difficult to write a solid heroine-intro scene? Charu (played by a visibly uncomfortable-looking Malavika Mohanan) has a very important role in transforming JD, in making him realise his destiny . But her scenes (like the scenes with Andrea Jeremiah, or Shanthnu Bhagyaraj, or even the sub-villain played by Arjun Das) come and go without any sense of a character arc . (They seem randomly inserted.) For that matter, even Bhavani, after his grand introduction, goes nowhere. I loved the Hitchcockian touch that we (the audiences) know who he is but JD doesn't, but you don't do much with it. The man should have been much more menacing. His actions should have made us feel he deserved that gory death, which beautifully echoes the very tragedy that awakened JD from his self-centred stupor.

It's fun to hear a KV Mahadevan song like Iravinil aattam play out during a key scene, like how you had a bunch of '80s Rajinikanth numbers in Maanagaram . It's fun to note the very Westernised music (Anirudh) and the very Westernised decor, from the LPs to Beatles posters — even the booze isn't TASMAC " sarakku " but a bottle of Jack Daniels (if I saw that right), which ties in with JD's initials. Above all, it's fun to note your continued Tarantino-isation (Godard-isation?) of Kamalisms: if the film's premise is a reworking of Nammavar (there's even a Sorgam enbathu -type "clean the college premises" segment), we get Sivasankar playing a character that has the same name (Thulukanam) as the character he played so memorably in Mahanadhi .

But these are for trivia buffs (and believe me, I am one). They can add to a screenplay, but they cannot become the screenplay. That's the tricky thing about postmodern game-playing on screen. On the one hand, we accept (and are explicitly made aware) that nothing is "original". But on the other hand, the narrative has to be strong enough to power through these "bits" and come together on its own. It's a great touch that Bhavani wears chains that denote all religions, but it would have been a greater touch had this quirk actually resulted in a payoff. Vijay Sethupathi isn't able to find a pitch for his performance. He remains a powerful physical presence, which might have been enough in the usual Vijay movie — but Master needed more.

And that, Lokesh, is the problem with Master . The conceptual boldness isn't fleshed out with the force and the conviction it deserves. Conceptually , it's a great idea to spend such a long time from establishing that JD is going to take over a correctional facility to the point where he actually ends up at that correctional facility. (And how nice it is to see Vijay actually play a character and not a pre-fab star!) But this screenwriting decision also means that the people we meet during this ( long ) stretch end up doing something significant, and they don't. Conceptually , it's a great idea to keep JD and Bhavani away from each other for such a long time. (And the scene where they accidentally "meet"  is a cracker.) But this screenwriting decision also means that we should be showered with fireworks when the final confrontation happens. Instead, we get something ironic, like a postmodern wink. Are you implying you are too cool to go back to old-fashioned showdowns? I wasn't able to make up my mind.

Also, the little flashbacks, where you end a scene before it actually ends and then, later return to the scene to show what really happened — they looked gimmicky. (They are like mini-hyperlinks, a pared-down version of your Maanagaram technique.) But that is also why I think Master is an important movie. (It's probably easier to write a thesis about it than a review.) You haven't just made "a Vijay movie". You have made a Vijay movie through the prism of "a Vijay movie", giving us what we expect but giving us those things in very unexpected ways. Take the children, who are always a very important component of a Vijay movie. But here, a child isn't just a cutie-pie sidekick for "family audiences" to smile at. He actually saves the heroine, while Vijay watches in astonishment. I nearly stood up and applauded.

So what about those who want only "a Vijay movie", something with sentiment and action and songs and romance (which is non-existent here)? I loved the staging of the songs, especially "Kutti Story". I loved the "comedy track" of JD narrating his life's story through the stories of various popular films (including one of his arch-rival's). I liked how his biggest punch line (about having crores of fans) is tied in with his character's earlier thoughts on politics and public service. But given that the film goes on for nearly three hours, Vijay fans may wish for more Vijay-isms. But that's what you are really going for here, right? It's not where you take Vijay from (i.e. his roots), it's where you take him to (i.e. your zone). I really liked that your protagonist isn't a Rambo -esque superhuman, like the one in Kaithi . You've made him a "normal man" who slowly discovers his destiny. He isn't born a man of destiny.

I like the auteurist streak in your films, where self-centred people slowly find themselves becoming selfless. To see that happen even in a Vijay movie is a sign that you aren't going to bend over easily for a big star. But it would have been even better had the writing conceits translated into more excitement on screen. I'm not asking for the amped-up "highs" we get in, say, an Atlee movie. You are going for something classier, of course, and you are still finding your way, your voice . As a filmmaker, you have arrived. But (unsolicited advice alert) as a writer, you may want to spend more time fusing your sensibilities with those of your stars'. I liked thinking about Master . I really did. I just would have liked to have enjoyed it more.  

Sincerely, etc.

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Ajayante Randam Moshanam: Tovino Thomas Talks Malayalam Cinema, Transition To OTT And His Massive Fan Following

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'Visual delight, decent screenplay': Twitter share honest review for Tovino Thomas's 3D Malayalam film ARM

Updated on: 12 September,2024 02:47 PM IST  |  Mumbai mid-day online correspondent |

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Tovino Thomas's 50th film release is ARM (Ajayante Randam Moshanam). Directed by debutant Jithiin Lal, the film also stars Krithi Shetty and is an Onam release

Tovino Thomas

Tovino Thomas -led 'ARM' (Ajayante Randam Moshanam) has hit the screens. An ambitious period drama, the film also stars Krithi Shetty, Basil Joseph, Harish Uthaman, Surabhi Lekshmi, Aishwarya Lekshmi among others. Tovino Thomas, who became a favorite among audiences through the movie 'Minnal Murali', is appearing in three different roles —Maniyan, Kunjikkelu, and Ajayan in 'ARM'. The film has a brilliant team backing it and has been released in 3D. It is not often that Malayalam film dabbles in 3D even though India's first 3D film was from the very same industry. 

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Is Tovino Thomas's ARM worth a watch on the big screen?

Before you decide to watch the film, here are the tweets you must see before making a decision:

#ARM Review Decent Visual Delight 👌 @ttovino is in his elements & was good 👍 Rest of the actors were apt ✌️ Visuals & BGM 🔥 Screenplay was decent ✌️ Production Values👍 Rating: ⭐⭐⭐/5 #ARMMovie #ARM3D #ARMTheMovie #AjayanteRandamMoshanam #KrithiShetty #TovinoThomas pic.twitter.com/PcQXxPq8tu — Swayam Kumar Das (@KumarSwayam3) September 12, 2024

#ARM : Impressive concept but the execution is half baked. Screenplay lacks the desired impact which should have been taken care of and climax is bit downer. Technically stunning. Tovino good. Overall average film pic.twitter.com/G9JrhmZUoa — Front Row (@FrontRowTeam) September 12, 2024

#ARM First half visuals, VFX, BGM, and setting adipoli. The concept is very intriguing and fresh. Maniyan is simply next level. Tovino 🔥. The transition between the 3 timelines is not done properly in my opinion. Something somewhere feels off. Missing those "Romancham" moments. pic.twitter.com/80WorlIoao — Mollywood Fanatic (@Johnportmafia) September 12, 2024

Watched #ARM 2D Top production values. Vfx, Visuals & Art 👌 Tovino superb. Decent 1st half. Better 2nd half. Gud concept. Script & direction is mid. Slow paced & no wow moments. BGM gud at parts. Lacks the punch, bt Family audience will like. 3/5 #ARM3D #AjayanteRandamMoshanam pic.twitter.com/7GCfHmL8mn — Aditya Binu (@aditya_binu) September 12, 2024

Tovino Thomas on the 3D release of Malayalam movie ARM

Directed by debutante Jithiin Laal, the film will be released in 3D across languages in India on September 12. While one might recall the Malayalam cinema industry producing the first 3D film of India, the industry has not seen one in along time.

“Shooting with 3D cameras is a very tough thing to do. It takes more time and effort,” says Tovino to mid-day.com ahead of the release of his film.

“But what we have done is 3D conversion. People won't find out if we have shot it with 3D cameras or if it's 3D conversion because the technology has advanced and we have already got guidelines to shoot to convert it into 3D we have to shoot it in a particular way. Cinematographer was well aware of that.”

Working on a 3D film was a first for the entire team, stresses Tovino. “We all tried and put in our efforts, and I think it has come out really well. The story demands 3D.  We want to take people to this particular village called Chiyothikavu, where this story is happening some 300 years back.”

The entire story across three generations is happening in Chiyothikavu. We haven't used the 3D element just for the action set pieces. Things coming at your face in 3D was not the sole idea. We have definitely have such sequences, but the whole idea is to keep people immersed in this world.  Even if you're watching a romantic scene or an emotional scene, you're getting a 3D visual of it,” he added. 

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ഹൃദയം കട്ടെടുക്കുന്ന കള്ളന്റെ കഥ; മുത്തശ്ശിക്കഥയുടെ ദൃശ്യ മികവ്‌

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താരത്തില്‍ നിന്നും സൂപ്പര്‍ താരത്തിലേക്കുള്ള ചവിട്ടു പടിയിലാണ് ടൊവിനോ. മിന്നല്‍ മുരളിയും തല്ലുമാലയും, ഇപ്പോഴിതാ എആര്‍എം എന്ന അജയന്റെ രണ്ടാം മോഷണവും. ടൊവിനോ തന്റെ അവരോഹണത്തിലേക്കുള്ള അടുത്ത പടിയിലേക്ക് കടന്നിരിക്കുന്നു. മുത്തശ്ശികഥകളുടെ മായിക ലോകവും യാഥാര്‍ത്ഥ്യവും തമ്മില്‍ കെട്ടുപിടഞ്ഞു കിടക്കുന്നൊരു സിനിമയാണ് നവാഗതനായ ജിതിന്‍ ലാല്‍ ഒരുക്കിയിരിക്കുന്നത്. സുജിത് നമ്പ്യാരുടെ തിരക്കഥയില്‍, പുതുമുഖമെന്ന തോന്നല്‍ നല്‍കാത്ത മേക്കിംഗിലൂടെ ജിതിന്‍ ലാല്‍ വരവറിയിച്ചിരിക്കുകയാണ്.

ചിയോതിക്കാവും അതിനെ ചുറ്റിപ്പറ്റി ജീവിക്കുന്ന ഒരു നാടിന്റേയും കഥയാണ് അജയന്റെ രണ്ടാം മോഷണം. സ്വന്തമായി കാവും പൊലീസ് സ്റ്റേഷനുമൊക്കെയുള്ള ആ നാടിന് പറയാന്‍ ഒരുപാട് കഥകളുമുണ്ട്. ആ കഥകള്‍ക്ക് രണ്ട് ധ്രുവങ്ങളുമുണ്ട്. ഒരറ്റത്ത് നാടിന് അഭിമാനമായി മാറിയ കുഞ്ഞിക്കേളുവെങ്കില്‍ മറ്റൊരറ്റത്ത് നാട് പേടിയോടേയും വെറുപ്പോടേയും കാണുന്ന മണിയനാനുള്ളത്. കള്ളന്‍ മണിയന്റെ കൊച്ചുമകനാണ് അജയന്‍. ചരിത്രവും കഥകളും താന്‍ പോലുമറിയാതെ ചാര്‍ത്തി തരുന്ന കള്ളന്‍ എന്ന പട്ടം വേട്ടയാടുന്നവനാണ് അജയന്‍.

മൂന്ന് കാലഘട്ടത്തിലൂടെ സഞ്ചരിക്കുന്ന സിനിമയാണ് അജയന്റെ രണ്ടാം മോഷണം. അജയനില്‍ നിന്നും മണിയനിലേക്കും കുഞ്ഞിക്കേളുവിലേക്കുമുള്ള യാത്രയാണ് സിനിമ. ആകാശത്തു നിന്നും പൊട്ടിവീണൊരു അത്ഭുതകല്ലില്‍ നിന്നുമുണ്ടാക്കിയ വിളക്കില്‍ നിന്നുമാണ് അജയന്റെ രണ്ടാം മോഷണത്തിന്റെ കഥ ആരംഭിക്കുന്നത്. അജയന്റെ ജനനത്തിനും നൂറ്റാണ്ടുകള്‍ മുമ്പ്. നിഗൂഢതകള്‍ നിറഞ്ഞ, പരസ്പരം കെട്ടുപിടഞ്ഞു കിടക്കുന്ന ചരിത്രത്തിന്റെ അവസാനത്തെ കണ്ണി മാത്രമാണ് അജയന്‍.

19-ാം നൂറ്റാണ്ടില്‍ ആരംഭിച്ച് 90 കളില്‍ അവസാനിപ്പിക്കുന്നതാണ് സിനിമയുടെ യാത്ര. കുഞ്ഞിക്കേളുവില്‍ നിന്നും ആരംഭിച്ച് അജയനില്‍ അവസാനിക്കുന്ന യാത്ര. രണ്ട് വീരന്മാര്‍ക്കുമിടയിലെ സാധാരണക്കാരനായ അജയനാണ് കഥാനായകന്‍. തന്റെ പൂര്‍വ്വികരെ പോലെ വീരനോ ധീരനോ അല്ല അജയന്‍. തന്റെ മുത്തച്ഛനാല്‍ ചാര്‍ത്തിക്കിട്ടിയ കള്ളന്‍ എന്ന പേര് ജീവിതം കാലം മുഴുവന്‍ പേറി നടക്കേണ്ടി വന്നവനാണ് അജയന്‍. കാമുകി കളിയായി പോലും കള്ളന്‍ എന്ന് വിളിക്കുമ്പോള്‍ മുറിവേല്‍ക്കുന്നത്ര ദുര്‍ബലനായൊരു പാവത്താന്‍.

മൂന്ന് ജീവിതാധ്യയങ്ങളിലൂടെ കഥ പറയുന്ന സിനിമ ടൊവിനോ തോമസ് എന്ന നടന്റേയും താരത്തിന്റേയും കരിയറിലെ ഏറ്റവും മികച്ച പ്രകടനങ്ങളുടെ വേദിയാണ്. തീര്‍ത്തും വ്യത്യസ്തരായ മൂന്ന് കഥാപാത്രങ്ങളെയാണ് ചിത്രത്തില്‍ ടൊവിനോ അവതരിപ്പിച്ചിരിക്കുന്നത്. മൂന്ന് പേരേയും ശരീര ഭാഷയിലടക്കം വ്യത്യസ്തമാക്കാന്‍ ടൊവിനോയ്ക്ക് സാധിച്ചിട്ടുണ്ട്. ലാര്‍ജര്‍ ദാന്‍ ലൈഫ് കഥാപാത്രമാണ് കുഞ്ഞിക്കേളു. മണിയന്‍ ആകട്ടെ, റഗ്ഗ്ഡ് ആന്റ് റസ്റ്റിക് ആയ കഥാപാത്രവും. ഇവര്‍ രണ്ടു പേര്‍ക്കുമുള്ള അമാനുഷികതയൊന്നുമില്ലാത്ത, സാധാ മനുഷ്യനാണ് അജയന്‍.

മൂന്ന് കഥാപാത്രവും ഒരുപോലെ ഭദ്രമാണ് ടൊവിനോയില്‍. മണിയനും അജയനുമാണ് സ്‌ക്രീന്‍ ഭരിക്കുന്നത്. രണ്ട് കഥാപാത്രവും അവതരിപ്പിച്ചിരിക്കുന്നത് ഒരേ നടനാണെന്ന തോന്നല്‍ പോലും ജനിപ്പിക്കാതെ ടൊവിനോ മനോഹരമായി അജയനും മണിയനുമാകുന്നു. മണിയന്റെ വയലന്‍സും അജയന്റെ വള്‍നറബിലിറ്റിയും ഒരുപോലെ ടൊവിനോയില്‍ ഭദ്രം. ടൊവിനോ എന്ന താരവും നടനും സംഗമിക്കുന്ന സിനിമയാണ് അജയന്റെ രണ്ടാം മോഷണം.

ടൊവിനോയ്‌ക്കൊപ്പം നില്‍ക്കുന്നതാണ് സുരഭിയുടെ കഥാപാത്രവും പ്രകടനവും. അജയന്റേയും ലക്ഷ്മിയുടേയും കഥ എന്നതിലുപരിയായി മണിയന്റേയും മാണിക്യത്തിന്റേയും കഥയാണ് അജയന്റെ രണ്ടാം മോഷണം. ടൊവിനോ-സുരഭി എന്നത് തീര്‍ത്തും അസാധാരണമായൊരു കാസ്റ്റിംഗ് ആണ്, പ്രത്യേകിച്ചുമൊരു വാണിജ്യ സിനിമയില്‍. എന്നാല്‍ സിനിമയിലെ ഏറ്റവും മികച്ച ജോഡിയായി മാറാന്‍ ഇരുവര്‍ക്കും സാധിച്ചിട്ടുണ്ട്. സുരഭിയുടെ കരിയറിലെ തന്നെ ഏറ്റവും മികച്ച കഥാപാത്രങ്ങളിലൊന്നായിരിക്കും മാണിക്യം.

നവാഗതനെന്ന തോന്നല്‍ നല്‍കാതെയാണ് ജിതിന്‍ ലാല്‍ സിനിമയൊരുക്കിയിരിക്കുന്നത്. പ്രത്യേകിച്ചും സംഘട്ടന രംഗങ്ങളിലും മറ്റും. ഇടയ്ക്കൊക്കെ തന്റെ ഗുരുവായ ബേസിലിന്റെ ഫ്രെയ്മുകളേയും മേക്കിംഗ് പാറ്റേണിനേയും ജിതിന്‍ ഓർമ്മിക്കുന്നുണ്ടെങ്കിലും തുടക്കക്കാരനെന്ന നിലയില്‍ ജിതിന്‍ ലാല്‍ പ്രോമിസിംഗ് ആണ്. ജോമോന്‍ ടി ജോണിന്റെ ക്യാമറയും ദിബു നിനാന്‍ തോമസിന്റെ സംഗീതവും സിനിമയെ അതിഗംഭീരമായി ലിഫ്റ്റ് ചെയ്യുന്നവയാണ്. രണ്ടാം പകുതിയില്‍ സിനിമയുടെ ആത്മാവ് പേറുന്നത് ദിബുവിന്റെ സംഗീതമാണ്.

അതേസമയം അജയന്റെ രണ്ടാം മോഷണം ഗംഭീര സിനിമയില്‍ നിന്നും അതിഗംഭീര സിനിമയിലേക്ക് എത്താതെ പോകുന്നതിന് പിന്നില്‍ സിനിമയുടെ ലളിതമായ കഥയാണ്. മുത്തശ്ശിക്കഥയിലൂടെ ആരംഭിക്കുന്ന സിനിമ അവസാനം വരെ ഒരു മുത്തശ്ശിക്കഥയുടെ ലാളിത്യമാണ് പുലരുന്നത്. ജെനറിക് എന്നോ ഓള്‍ഡ് സ്കൂള്‍ എന്ന് പറയാവുന്നതോ ആയ പ്ലോട്ടിലേക്ക് പുതുതായൊന്നും കൊണ്ടു വരാന്‍ സാധിക്കുന്നില്ല. ചിത്രത്തിലെ ട്വിസ്റ്റുകളും ടേണുകളുമെല്ലാം പ്രവചീനയമാണ്. വളരെ രസകരമായൊരു പ്രിമൈസുണ്ടായിട്ടും അതിനെ വേണ്ടവിധത്തില്‍ ഡെവലപ്പ് ചെയ്യാന്‍ സാധിച്ചിട്ടില്ല. തുടക്കത്തില്‍ തന്നെ ക്ലൈമാക്‌സ് എന്തായിരിക്കുമെന്നതില്‍ പ്രേക്ഷകര്‍ക്ക് രണ്ട് വിചാരമുണ്ടാകില്ല. കൃത്യമായി അവിടെ തന്നെ സിനിമ ലാന്റ് ചെയ്യുന്നുമുണ്ട്.

രണ്ട് മോഷണങ്ങളുടെ കഥ പറയുന്ന സിനിമ രണ്ട് പ്രണയങ്ങളുടെ കഥ കൂടി പറയുന്നുണ്ട്. മണിയന്റേയും മാണിക്യത്തിന്റേയും പ്രണയവും അജയന്റേയും ലക്ഷ്മിയുടേയും പ്രണയവും. മണിയന്റേയും മാണിക്യത്തിന്റേയും പ്രണയം തീവ്രമായൊരു അനുഭവമാണ്. എന്നാല്‍ അജയന്റേയും ലക്ഷ്മിയുടേയും പ്രണയം ഹൃദയസ്പര്‍ശിയാകുന്നില്ല. ടൊവിനോയുടേയും കൃതി ഷെട്ടിയുടേയും കെമിസ്ട്രി വേണ്ട പോലെ വര്‍ക്കാകുന്നില്ല. സിനിമയുടെ ലോകവുമായി ചേര്‍ന്നു നില്‍ക്കാത്തൊരു കാസ്റ്റിംഗ് ആയിരുന്നു കൃതി ഷെട്ടിയുടേത്.

പ്രധാന കഥാപാത്രത്തിന്റേതുള്‍പ്പടെയുള്ള ക്യാരക്ടർ ആർക്കുകളും ഉള്ളില്ലാത്തതാകുന്നു. മണിയനില്‍ ശ്രദ്ധ കേന്ദ്രീകരിക്കുന്നിടത്ത് അജയനെ സിനിമ പലപ്പോഴും മറക്കുന്നുണ്ട്. സഹകഥാപാത്രങ്ങളിലേക്ക് ഇറങ്ങിച്ചെന്നു കൊണ്ടൊരു ലോകം നിർമ്മിച്ചെടുക്കുന്നതിലും സിനിമ പിന്നിലാണ്. സിനിമ നേരിടുന്ന മറ്റൊരു പ്രശ്‌നം അനുയോജ്യനായൊരു വില്ലന്റെ അഭാവമാണ്. തലമുറകളാല്‍ ബന്ധപ്പെട്ടു കിടക്കുന്ന കഥയില്‍ അതിനോളം വലുപ്പമുള്ളൊരു വില്ലന്‍ ഇല്ല. മികച്ച അഭിനേതാക്കളുണ്ടായിട്ടും ജെനറിക് വില്ലന്മാരില്‍ നിന്നും ഉയരാന്‍ തിരക്കഥ അവരെ അനുവദിക്കുന്നില്ല.

ഫാന്റസിയുടേയും റിയലിസത്തിന്റേയും കൂടിച്ചേരലിലാണ് അജയന്റെ രണ്ടാം മോഷണം മികച്ചു നില്‍ക്കുന്നത്. സംഘട്ടന രംഗങ്ങളിലും ദൃശ്യമികവിലും ചിത്രം മികച്ചു നില്‍ക്കുന്നുണ്ട്. വര്‍ഷങ്ങള്‍ ഒരുപാടെടുത്ത് ഒരുക്കിയ സിനിമ, സംവിധായകന്റേയും ടീമിന്റേയും അധ്വാനം വെളിപ്പെടുത്തുന്നു. സാങ്കേതിക മികവും പ്രകടനവും ഒരുപോലെ മികച്ച നില്‍ക്കുന്നൊരു ചിത്രമാണ് അജയന്റെ രണ്ടാം മോഷണം.

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Ajayante Randam Moshanam (ARM) Hit Or Flop: Here's The Audience Verdict Of Tovino Thomas' Movie

Ajayante Randam Moshanam (ARM) Hit Or Flop: "Ajayante Randam Moshanam (ARM)" is a Malayalam action-adventure film directed by Jithin Laal and penned by Sujith Nambiar. Produced by Listin Stephen and Zachariah Thomas, the film stars Tovino Thomas in the lead role, with Basil Joseph, Krithi Shetty, Aishwarya Rajesh, and Surabhi Lakshmi in supporting roles. The soundtrack is composed by Dhibu Ninan Thomas.

#ARM BLOCKBUSTER 🏆🥳🏆🥳🏆🥳 pic.twitter.com/rddDCRHebJ — Southwood (@Southwoodoffl) September 12, 2024

Initially filmed in 2D and subsequently converted to 3D, "ARM" was produced with a budget of ₹30 crore, covering print and publicity expenses. The film premiered in theaters on September 12, 2024, in conjunction with the Onam festival.

#ARM 🏆🏆🏆 Terrifficc Experience. @ttovino .. You nailed it Man.🥶🔥♥️ Visually and technically adaaaru item from #JithinLaal and team👌🔥🔥 what a making!! BlockBuster🏆 #ARM #TovinoThomas #Jithinlal #Mohanlal pic.twitter.com/FBp7Y1gOGF — 𝖐𝖎𝖓𝖌 𝕺F Sẹã 💕 (@Dfan_Surya) September 12, 2024

Ajayante Randam Moshanam (ARM) Audience Verdict

Stay tuned for the audience's verdict on Tovino Thomas' 'Ajayante Randam Moshanam (ARM). As the Malayalam action-adventure film unfolds on the big screen, viewers are eager to share their thoughts and experiences on social media. Keep an eye out for the latest updates and audience reactions as the verdict unfolds.

#AjayanteRandamMoshanam Review:- #ARM is a visually stunning movie with quality 3D effects. The first half focuses on character development, while the second half shifts into an exciting treasure hunt mode, making it engaging. @ttovino delivers a powerful performance,… pic.twitter.com/Vmc7vlbZ6h — Southwood (@Southwoodoffl) September 12, 2024

Ajayante Randam Moshanam (ARM) Premise

Set in northern Kerala and spanning three distinct eras-the 1900s, 1950s, and 1990s-the film chronicles the lives of three generations of heroes: Maniyan, Kunjikelu, and Ajayan. All portrayed by Tovino Thomas, these characters are united by their common lineage, and each is dedicated to safeguarding the land's most prized treasure.

The film #ARM is receiving a positive response from audiences everywhere. Viewers are praising its engaging storyline and performances. Watch #ARM3D at Cinemas Near You 💥 #ARM3Dthemovie #AjayanteRandamMoshanam pic.twitter.com/1fmXnbjpQB — Bhargavi (@IamHCB) September 12, 2024

Ajayante Randam Moshanam (ARM) Cast And Crew

"Ajayante Randam Moshanam" boasts an impressive cast featuring Tovino Thomas, Krithi Shetty, and Aishwarya Rajesh in prominent roles. The film also stars Surabhi Lakshmi, Basil Joseph, Rohini, Harish Uthaman, Nisthar Sait, Jagadish, and Pramod Shetty, with Aju Varghese and Sudheesh adding to the strong performance lineup.

#TovinoThomas as Maniyan was his ever best performance in recent times 🥵🔥 Maniyan will be Pakka show stealers in entire movie and going to get lot of praises in coming days ♥️💥 Onam winner 🏆 🏆 🔥🔥 #ARM #TovinoThomas #JithinLal #BasilJoseph #Onam2024 pic.twitter.com/dTiuZWzzVb — Glimpse Of Cinema (@faisal_007faisy) September 12, 2024

Directed by Jithin Laal and written by Sujith Nambiar, "Ajayante Randam Moshanam" is produced by Listin Stephen and Dr. Zachariah Thomas under the Magic Frames banner. The film features music and background score by Dhibu Ninan Thomas, cinematography by Jomon T. John ISC, and editing by Shameer Muhammed.

#ARM [2024] is a visually captivating film with a beautiful folk tale at its core. Tovino shines, especially in the action sequences. The treasure hunt mode in the second half adds a thrilling edge, keeping you engaged. Jithin Lal’s debut as director is good, delivering a film… pic.twitter.com/1GYUDQqZTA — Forum Reelz (@ForumReelz) September 12, 2024

The trailer cuts were managed by Thomas P. Sebastian and Akhil Latha Anil, with Deepu Pradeep contributing additional screenplay work. Badusha NM designed the project, while Santhosh Krishnan served as the line producer, and Prince Raphel and Harshan Pattazhy were the production controllers. Gokuldas worked as the production designer, Praveen Varma handled costumes, and Ronex Xavier managed makeup and hair. Stunt coordination was by Vikram Mor and Pheonix Prabhu, with choreography by Lalitha Shobi. Creative direction was led by Dipil Dev, with Sreelaal as the chief associate director and Anish Ravindran as the chief associate cinematographer. Sound design was handled by Sachin & Hariharan (Sync Cinema), and audiography by M. R. Rajakrishnan. Shaneem Zayed served as the casting director, and Appu N Bhattathiri oversaw post-production. VFX supervision was managed by Salim Lahir, with Envision VFX, Visual Birds Studio, and Mindstein Studios providing visual effects. Glen Castinho was the colorist, Babin Babu led administration and distribution, and Akhil Yesodharan managed production. Vaisakh C. Vadakkeveedu and Jinu Anilkumar handled PRO and marketing.

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