A Day Starts in Hyderabad

On the beginning of a dry windy day, I start the seemingly monotonous walk to one of the many thriving coaching centers of Hyderabad. It would never be an overstatement if Hyderabad were to be called Knowledge Capital of India. Strewn across its vast area are hundreds of institutions of technology. Intermingling with new age optimism are throwbacks from the educational top strata, filling up the arts and science colleges. I do not claim to have watched many a Telugu movies to generalize, but from the handful that has garnered notice in Kerala, colleges form vital constituent. This emphasizes significance of temples of learning, fun and joy in a Telugu common man's real life as well as imagination.

Right outside my hostel, I walk past a school holding its breath for the explosive upheaval in 2 hours time. Apltly Ke$ha's sound roaring "This place is about to Blow!" in my ear. Slowly as I progress, I am not alone as both sides of the road fill with "prospective graduates", as an American would state. Hyderabad is slowly but surely breathing life as I near my destination. The locality slowly transforms from a shopper's stop in a mild residential backdrop to busiest motorcycle market. Yes! I never believed I would use that phrase, but motorcycles are sold and bought like vegetables in one busy street, of course showing no signs of the predicament at 6:30 in the morning.

Road sides are scattered with the homeless not yet awake to lead another hopeful day dreaming of a relief but probably ending in despair. Previous evening's rain, however slight, has done enough damage to the sewers for some to overflow. Say, hello to the smelly, mismanaged and uncared-for:the great Indian city drainage system. As I near my 'premises' for rest of the day, my ears ringing with the sound of Train or Katy Perry or the contemporary, my mind waders to the trudge back few hours later. The roads would be different, filled with different faces, different views. But that is for a different time, folks, as a Hollywood catchphrase goes "This is just the beginning."

Urumi - A Movie Review

The hype generated was immense for Urumi. A magnum opus according to producer and lead actor Prithviraj. An action packed movie with mind blowing visuals is taken for granted. The only concern for the intelligent moviegoer is if Santhosh Sivan will be able to stuff technical brilliance into a good storyline.Or will he stuff a credible but ordinary storyline into a visual extravaganza. And unfortunately it is more the latter than the former.

Urumi showcases a legendary story, retold by an eccentric jungle dweller to a loser Krishna Das played by Prithviraj. The tale is a reminder for Krishnadas of his ancestry, one that has spilt blood for their land against invaders. Same land he is about to sell to a corporate for mining.

The tale is of Chirakkal Kelu Nayanar, a man sworn to exact vengeance from childhood on Vasco da Gama-murderer of his father. Chirakkal Kothuval, father of our 'hero' is played by the upcoming gem of an actor Arya. Incidentally it is not the first time that viewers see him as he is the apparent mystical forest man who narrates the legend to Krishnadas. Though the screen time is limited for the character, Arya makes a huge impact. A special mention must be made of Prithviraj who has given voice to the character of Kothuval.

Story that unfolds in the first half moves along in a disjointed fashion, peaking at times and hitting rock bottom at other occasions. Jagathi Sreekumar is the sole source of satisfaction with his acting miles ahead of the rest.
Kelu Nayanar and his childhood friend Vavvali or just Ali (Prabhu Deva) falls into a commitment towards the king to kidnap Vasco de Gama who will come to nearby Arakkal kingdom to personally oversee an execution. They instead thwart the execution and kidnap his son Estavio. During the process meeting Arakkal Aisha (played by Genelia), a brave warrior lady of the Arakkal royal family with a history of vengeance towards Portuguese. But they inadvertently become part of a conspiracy to overthrow Arakkal royalty by Chirakkal King.


Second half brings continuity and non triviality to the movie. Strong performances by Nithya Menon who plays gorgeous princess who falls for Ali and Jagathi, the Rasputin like minister-Chenchery Kurupp-of the king, helps Santhosh Sivan here. Cue blockbuster action scenes and a predictable climax as the complex storyline weaves around many a incident ultimately leading to a head on confrontation between local army raised by Kelu Nayanar and Vasco da Gama at the end.

Prithviraj walks on the path to project himself as the next superstar. Unflappable, angry and arrogant young man in Kelu Nayanar speaks it aloud if not scream. But the character demands fire of revenge and feeling for the motherland to ooze out, and it doesnt. Raj is a constant behind all those muscles. Gusto with which his dialogues are delivered(dubbed) does not transfer to his acting. Genelia is a pleasant surprise. She manages admirably the role of a macho heroine. Foreign supporting cast is above average which is commendable in Indian films. Jagathi Sreekumar deserves special accolades. He proves that even average scripts and direction can get extraordinary performances out of him. Nithya Menon is a beacon of hope to quality depraved arena of Malayalam female actors. Prabhu Deva does what he does best- dance. His acting is passable.

The soundtrack of the film had had a high 2 weeks before the release of the movie. When songs let your imagination weave glorious scenes for them, one is sure the soundtrack works. Though on screen the songs do not disappoint, it fails to make you content. Except for 3 songs, viz. Chimmi Chimmi, Thelu Thele and Appa rest just flashes by leaving no mark on your memory.

When Santhosh Sivan is behind the camera, pleasure to the eyes is guaranteed. Still, it would be foolish not to mention. The sets and locations are breathtaking. Costumes do justice to the times and palaces, houses and villages are articulately conceived.(Look out for portrayal of Arakkal palace) Dialogues have been worked upon for considerable time, as it emanates required lack of brevity. Characters are raw doing justice to an uncivilized age. It do not reek of the false straight-forwardness evident in many adaptations of historic events (read MT and Hariharan).

It appears like a compulsion on the part of Santhosh Sivan (I believe it so, though it could well be of the screenwriter-Shanker) to give all actors of the 'present' story, a part in the legend that is retold (also vice-versa). And this needless gimmick backfires, especially in the case of Vidya Balan. She is portrayed as a yakshi who foretells Kelu Nayanar's impending honoring as general. Malayali viewers will find it hard to digest a mystical theme and a crude satisfaction viewing voluptuous Vidya will be the most it will achieve.

Huge amount of money have been rushed into Urumi's production. Nevertheless, a little more sensibility and confidence to try a strong story rather than redundant visual effects would have done wonders to this film. In short, Santhosh Sivan is technically a perfect man for the movie industry. But he is not a great director. However, among star studded high profile masalas released in Malayalam recently, Urumi is a breath of (almost) fresh air.

My rating 3/5

Urumi - A music review

Malayalam movie industry has seen a plethora of poor sound tracks for the past 2 years. Handful of commendable and still fewer (if any) 'great' film soundtracks have been released.

But with Urumi you are introduced to a completely refreshing soundtrack.

The first track Araanu Araanu starts with high octane you expect from a film set to be renowned for its fight sequences and frothing patriotism. Set in country music genre of Kerala, lyrics matching perfectly, its a treat to the ears.Its significance grows since till recently, the rhetorics from Kalabhavan Mani is what gets touted as country music of Kerala. Virtually unknown voices-of Job Kurian and Reeta- contributes to seal the mystic feel.

It is followed by Aaro Nee Aaro. The track starts and is interspersed with an awesome rendering by a female, who is unfortunately not credited. Yesudas and Shweta, the lead singers do a little less justice to the tone that is set in the song. Unsurprisingly, the track is good when lead singers are absent from the scene.

Appa a solo by another newcomer Reshmi Sathish which is the 3rd track, is probably the most revolutionary track of the whole album along with Thelu Thele. Another song in country genre but on the opposite end of spectrum from the first track, this is a song of longing. A song of things missed in a life, it is unmissable.

Now comes the 4th and surely the ensured 'hit' track of the album. Chimmi Chimmi reminds one of Pinakkamano (from Ananthabhadram) at first hearing, but is on an entirely different strata. It has naughty but superb lyrics, while meaningful simple lyrics have almost been absent in Malayalam movies of late. Manjari shows that you need not be Shreya Ghoshal to strike a chord in mens' hearts. My pick of the album. I expect, having watched the trailers of the movie, the song to center on gorgeous Vidya Balan. It would be a huge disappointment if Genelia has acquired the raunchy number.



The fifth track disappoints, and how! Shockingly out of place with rest of the album, one is hurt at selection of such a track. Vadakku Vadakku has lyrics which may justify a situation in the movie-celebration of friendship- and blatantly indicate to feature Prabhudeva and his eponymous dance, but its lyrics and music is new-generation.And ofcourse Urumi is NOT set in new generation. Later a 'Rock' version sung by none other than Prithviraj just make matters worse. Nevertheless, the song is not poor, only the need of the same in the film cannot be justifed.

Normal service resumes in between two versions of Vadakku Vadakku with another country song Thelu Thele, set in the same mood as Appa but sung by male voice- K R Renji, it makes your soul weep.Rest of the soundtrack aside, for the two pure country genre songs alone Deepak Dev must be applauded.

The final two tracks-Chalanam Chalanam (named Theme Music) and its Humming version- are good. They cannot compete with remaining tracks but since they are aimed at the big impact on-screen in cinemas and hence acceptable.

Multiple lyricists do wonders for the OST. Kaithapram has penned Aaro Nee Aaro and Chimmi Chimmi. Appa is credited as a Traditional Song. I would love to know the origins of the song. Engadiyur Chandrasekharan has penned tracks Araanu Araanu, Vadakku Vadakku and Thelu Thele. He definitely has a appreciable range as his songs are vastly different. Rafeeq Ahmed penned Theme Song's punching lyrics- Chalanam Chalanam.

Santhosh Sivan movie seldom follows the beaten path. Deepak Dev is consistently good, but today, on the whole he is just too good. Prithviraj Sukumaran, a producer of the film, has clearly got good value for his money. With 75/- price tag so will the people who buy the album.