Mohanlal is a twist on that, a man with family responsibilities he has to fulfill, but a physical infirmity that limits his ability. Nagesh in the earlier film was an orphan who had known nothing but service for his whole life. The early establishment of his character reminded me more of Nagesh in Ethir Neechalthan anything else. Showing all the layers to his disability, not just how it is as a clever twist on fight scenes, but how it affects every part of his life, making him willing to step aside over and over again, to fade into the background and serve others.
The action scenes are the least of it for his character, it is the none action scenes where he really shines. Which makes sense, as a blind man and a trained fighter, once he is actually in the middle of a fight and making contact with an opponent, everything would be very simple. This is an interesting part for him, because it lets him combine generally tentative body language (literally feeling his way through the world), with certainty when in the midst of combat. I knew Mohanlal could do action, of course. But Priyadarshan still had some tricks up his sleeve for me, until I saw this film I had no idea he could do action! I thought comedy with a trace of bittersweet was his bailiwick. Now, of course, I know that is more just the general Malayalam style rather than something Priyadarshan invented. We didn’t start out filmi, we worked our way up to it. Because Prithviraj is not quite as good as Mohanlal and Jeethu Joseph isn’t quite as good as Priyadarshan.īefore I knew anything at all about Malayalam film, even the word “Malayalam”, I liked Priyadarshan’s Hindi stuff because of how the characters were dealing with real problems and complicated situations, and then it got crazy and filmi. I saw Oozham, which was in a similar genre but not quite as good as this. Oh well, this is what happens when the theaters only give one screen to Malayalam films, and there are 4 (or 5?) major releases for Onam weekend.
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