Curry Biscuit

  

Curry Biscuit, Novel by Hemjit Bharathan

Published by Current Books Folio. Price: Rs 385

Available at Amazon.in

Hemjit Bharathans very readable novel, Curry Biscuit, has all kinds of emotions but  expressed in moderate  gentlemanly language, just  like  the author himself. There's an honesty and authenticity about the anecdotes and incidents in the novel, representative of life in Fort Kochi, where Hemjits early years were spent. The cosmopolitan character of the place is brought out very well through food, festivals, inter cultural interactions and local dialect of Anglo  Indians  who formed  a chunk of his friends.

The lifestyle and fashions of the  seventies like the beehive hairdo which Indu, one of the characters chooses, paints a clear picture of the early seventies of Fort Kochi, long before it became a touristy place. When the Chinese nets were looked upon as a means of getting fresh fish and adding beauty to the seascape.

The colours and moods of the place and its inhabitants have been described with accuracy so that Princess Street, Jew Town, Napier Street, all have an ambience of their own.

The coming of age incidents, others that were swept under the carpet, all have a place in this, his maiden novel. His only novel, sadly enough.

The music scene of the late sixties and seventies, the parties that were thrown in houses, clubs and the not so pleasant teenage escapades of that age group, has been written with such honesty, tinged with a humorous edge. Hemjits mention of English, Malayalam and Hindi songs of that period accurately takes you back to your own childhood too.

Problems and incidents specific to Fort Kochi and Mattancherry area, like the Jews who longed to get back to Israel, evenings by the seaside and beach, dot the tale. The many convents, schools and life within them .....

The language is simple, yet catchy. The choice of words apt and descriptions lifelike.

The fun elements in the story , very many in fact, show the optimism of the writer himself . A genre defying novel, it has every subject of life in good measure and makes breezy reading. The title, Curry Biscuit is what defines the Fort Kochi of Hemjit' s teenage period. Whats curry biscuit? Do read the book and find out. 

FREEDOM FIGHT

Malayalam cinema has had quite a few anthologies after Kerala Cafe. But Kerala Cafe is very special to us for the wonderful well made short movies, which also gave us a reinvented Fahad Faasil, in a swanky new model. 

The latest anthology to hit OTT, (Sony Liv) Freedom Fighters, is even better than that. Each movie is about half an hour or so, but each warrants  careful analysis and a healthy discussion.

 A crop of young directors, schooled in hard competitive times, with no image to hold them prisoner, is out with five gems, all precious but differrent. The glue that holds them together is the fight for some kind of freedom. 

Geo Baby who gave us The Great Indian Kitchen and won high praise (my grouse was that though good, it was dated, came a few decades late) helmed this anthology. It"s topical, honest, not cinema for cinema's sake and makes you think, real  hard. If it's a kind of  freedom fight that's the common denominator, another slogan that reverberates all through is, 'love yourself, be kind to yourself,  to hell with what society says.' 

Geethu Unchained by Akhil Anilkumar opens the anthology. Rajisha Vijayan is the central character who is all too human and does make mistakes of the heart and mind. But she takes responsibility for those mistakes. The attitudes of both a lover and husband, especially when the lover turns into husband material in Kerala, are depicted in sharp, pithy strokes. 

Akhil Anilkumar turns the grammar of Malayalam cinema  upside down in the treatment of Geethu Unchained.

Asanghadithar is the second one and its a true story, the fight for toilets in a busy Kozhikode shopping street. Kunjila Mascillamani, who is a product of the Satyajit Ray Film Institute and also one who has experienced personal injustice at the hands of authorities, handles a delicate issue like this spiritedly but with compassion.  Women working in shops, like salesgirls, tailors have no toilets. The women form Penkoottu to get one. How they achieve it is their story. Srinda, a delightful actor, takes centrestage in this fight and  Viji, who fought for toilets in the real Mithaitheruvu, plays herself, ably indeed.  The plight of the third gender and the different ways the poor women devise to ease themselves are filmed with pathos. Pooja, an actor who has done serious theatre for a couple of years, plays a single mother of Penkoottu.

Ration by Francies Louis, lingers the longest in my heart. Geo Baby plays a man who works in a shop and in just one scene at the shop, he grabs your full attention. The nuances of a man in such a shop are spot on. Ration deals with a kind of self respect that is killing. The rich and poor neighbours form the backdrop for this telling societal glitch. Kabani is the poor neighbour who moves mountains to keep their pride and self respect intact.  She cooks some seer fish in her fridge which she thought was a return gift by the rich neighbour. But when she finds out that it wasn't and they wanted it in the evening, she somehow manages to get it, money being the biggest hurdle.  The scene in which, in the rich neighbours house, the double door fridge freezer pans packets and packets of frozen meat, fish, prawns and then a scene in the morning when a big bowl of leftover seer fish curry (yes, that same fish) is binned broke my heart. The haves and have nots gap is painfully so alive and kicking. She could have just said, Oh..I cooked it. She didnt.

Jeo Baby's own movie, Old Age Home, is all about loneliness. Joju George is usually all fire and brimstone, but here, you get to see a totally differrent character, silent, old, lonely and diabetic. His wife is played by Lali, who has a mind of her own and will not let loneliness engulf her. Rohini comes into their home as a help. All three have meaty roles. Fighting loneliness in old age with or without diseases is an uphill task, this story tells you. 

The last one, by Jithin Isaac Thomas, is a difficult subject but taken with great caution. Its black and white, often darkness hiding unpalatable substances and the title is Pra. Thu. Mu. The first word is Prajapathi, meaning a politician, in this context. The second and third word together with the first means he wants to, well sh**t . It tells the story of septic tank cleaners and their plight. It is not vulgar and the background music is threathening enough. The camera angles add much to the imbroglio. But the violence bit is stretched. If I had met Siddharth Siva on the street today, I would have wanted to beat him up. Thats how well he did the villainous role of the Prajapathi.What happens when septic tank cleaners strike work? Find out in Freedom Fight.

So many unorganised workers have no unions, no bargaining power, people have no voice in their own households and life is unfair, lonely. Communism was all about getting rights for the downtrodden but today,   unions call the shots in the organised sector and government establishments. Unions is big business. This movie is a wake up call for them and also to people who always say, what will people say? Its about time the old boldly say what they really want and take life into their own hands. 

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Thamasha is serious

Tamasha is not all tamasha. Its real..the problem is faced by a huge population especially in our part of the world. Body shaming is fun for those who want to say something funny to amuse others but have hardly any sense of humour. Added to that is the stupid seriousness with which a majority take these personal comments, fretting and fuming the while. Self confidence goes out the window and in walks self pity triumphantly through the front door.
Such a character is the protagonist, Professor Sreenivasan, in Ashraf Hamza's maiden movie, Thamasha. Ashraf has metro pillars propping him up: producers Sameer Thaha, Shyju Khalid, Chemban Vinod, Lijo Jose Pellissery.
Ashraf's script calls for special mention. Edited so well that you can't take a scene away from the film, the two-hour fare grows on you. Vinay Forrt plays Sreenivasan and he becomes the character. Vinay Forrt is nowhere around. Body language, dialogue delivery, expressions, all belong to the character. For Nawas Vallikkunnu, who shares almost as much screenspace, Thamasha will be a turning point in his career.
The slightly bald professor's  quest for a bride is the story. I dread spoilers and so no story. The three women who have a chance to be his bride react in three different ways. Grace Antony who wowed us in Kumbalangi Nights is one probable, with her infectious smile. Divya Prabha, the teacher is the other one, who has conventional views. The leading lady is Chinnu Chandni who stole my heart and sped away in that scooter she rides so well. Her natural acting and demeanour so fitted the role that you can't think of anyone else who could have done better.
The social media, how to deal with the downsides of it, the pluck with which young girls do it, are refreshing lessons for the older generation.
Ponnani, the directors hometown is the location and Sameer the camera person. I want to go to Ponnani.
Music is so raw and fresh. No terrible BGM to scare you.
 One flaw: After the interval, you think they are accidentally showing a different movie. There should have been some continuity.
Thamasha made me feel good. They should have made it a few decades earlier, I thought! Three guesses why!

Petta

Rajnikant starrer Petta is all human, unlike his releases of late. And I think the audiences are lapping it up. The Rajnikant of yore, the common man's hero from amongst themselves. Revenge and avenging murder, mayhem is nothing new to Tamil cinema but there is something more to this in Petta, an offering by Karthik Subbaraj.
A hostel warden is what Rajni portrays when the movie opens. The wide canvas that a hostel and college allows a movie maker is well exploited but it keeps track of the story and every scene more or less contributes to the progress of the story. Thankfully no slapstick which stands in isolation of the main plot. The story is thick with matter and characters of all hues, of emotions that range from filial, maternal, paternal to communal and revengeful. Dwelling more on the story will be a spoiler for those who have not yet seen the film.
Vijay Sethupathy in a villains garb shines. Nawazuddin Siddiqui, the other baddie also spews villainy. M Sasikumar, Bobby Simha, play the second line characters and Trisha, Simran,as the two leading ladies, get a minuscule portion of the film in which to perform. That they were ex-leading ladies of Rajnikant helped. All three, are still fit and since they have aged remarkably gracefully, look good enough on screen to woo you. I wish the next national award for make-up goes to the person who has done Rajnikant's make-up.
Much can be read into Rajnikant's recent foray into politics and Petta. The climax tells you much. There could have been two ways to end the movie. One, the conventional and sentimental way as all traditional movies end and the other, as it ends in Petta. Many scenes are straight out of the political circus that we see around us. That all's fair in love, war and politics can be read into the climax. The hero says that, in fact.
The movies and politics are so inextricably welded together in Tamil Nadu that the climax may well turn out to be a precursor of alliances and breakups. In short, Rajnikant does not want to make his political preferences clear. That's what I gathered.
 Oh...we actually went to see the movie because our own Manikandan is acting in it. His role is very small but he has done that very well. He could have been used better. Nevertheless an opening in Tamil cinema is great for Manikandan. It never drags and the cinematography is magical.  Good suspension in disbelief.

Odiyan

ODIYAN. The expectation was that big. And the hype went on and on so that people expected the moon. That is the problem and the reason probably why there was so much of badmouthing happening.
Odiyan is actually an okay movie. Honestly. Made in the conventional mould, director Shrikumar Menon, an adman, is a debutant in the feature film category. Given that, the opening scenes are riveting.
 Odiyan stories abound, in the Malabar region and this is but one story of perhaps the last Odiyan. Unlike ghost and yakshi stories, the Odiyan was real and people knew who it was. But when and how he would strike was the surprise that people dreaded. The equivalent of a modern day goonda. At night, in the dim light of a coconut palmleaf torch, the Odiyan, who came dressed in oxen garb or any other animal, could literally spring a surprise and frighten a man into a faint or cause him to fall and hurt himself. That was all that an Odiyan did. Now that's the background of the story.
Mohanlal, the Odiyan, (Odiyan Manickan) is huge, supple and has made many enemies in the village. His role is larger than life and he lives up to it. The emotional scenes do connect with the viewer, trolls notwithstanding. He makes the fights convincing. The climax is another story altogether.   Only the dialect that Mohanlal speaks sticks out like a sore thumb. There is nothing North Kerala or Palakkadan in his speech. It is Mohanlal talking. That could have been corrected at least while dubbing. The other characters like Siddique speak a differrent dialect. He is very good.  Manju Warrier's dialogues too are not true to the region.
The crass villain is played by Prakash Raj in his usual style.  
 Through a series of flashbacks the story of Odiyan Manickan's life unfolds, of how he had no choice but to inherit the profession of his forbears, coaxed by his grandfather, played ably by Manoj Joshi. Some of the villagers, conventional all black or all white characters make the story happen. Of them Manju Warrier is the best. Sparks of her performances in Kannezhuthi Pottum thottu or Kanmadam are visible. Background music is very good.
The climax is....well...unpredictably botched up.
 Mohanlal fans will love it. Others can see it for its traditional folklore content.

He, she and old me

(A two-minute short story)

A partially opened window (thank God), stubborn body attached to a bed (eyes bright nevertheless) and a mind still fresh and romantic despite the wrinkled skin. What more to shoo off boredom?

Today is Tuesday. It’s a sunny day. The gate next door is half open.  It’s a courier agency centre. Now it’s live footage for me! Will she, won't she? He looks distraught, plus sheepish. Wish I could lipread. Darn....there goes the bloody scooter....the momentum is disrupted.

Huh? A handkerchief? Now why? I thought girls don't cry these days, they only fool gullible guys who think they are smart. Ah…her face is turning this side…stupid curtain, what a time to sway in the breeze.

“Preetha….Preetha, where are you? I want some air, open the window a little wider will you?........Ah…that’s better.” 

 Is it tears? Or plain, unromantic sweat? Why did she fish out the hanky? Don’t they have any emotion called love any more? Well, there goes the hanky into her bag. Material misses, all. A hint of a smile crosses her face and he…yes, yes..he is actually blushing….thank God..the world is still a nice place to live in….there’s love, there’s compassion…empathy..

At peace with the world once more and the window opened wider, I try to look at the expression on their faces. Enveloped by straightened hair that fell on either side of her face, it worked like a dupatta. Cheap, light blue printed (can’t see what the print is) synthetic top and a pair of jeans,  frayed at the ankles. A certain steely look that betrayed no emotion.  He seems all flustered. Did he finally tell her? His cream shirt is bathed in sweat.

Both rush into the building, as a car stops at the gate. Looks like their boss is coming. Dog in the manger! “Preetha…is my orange juice ready?  I want it sweet. I said I want it SWEEEET.”

The next morning is rainy. “Preetha..open the window, both sides..wide open, please.”

Now where are they? He should have been here by 9.30 and she by 10. It’s already 11.  Maybe they are working inside today and will clear the parcels lying outside later. Hmm wonder what happened yesterday..

The morning next is here….Time: 11.30 am. Window open…but no sign of her or him. A pile of parcels lie untended. The boss makes an appearance. With him are two guys and they are shown the parcels. Where is she? Where is he? Did he propose?

“Preetha?”

“Here’s your orange juice.”

“What’s happening next door?”

“New staff. The old ones were caught red handed with the money they stole from the locker two days ago.”

The blushes…. the hanky…. she caught him and he had to part with half the moolah.  And both got caught. So it wasn’t love?

“Preetha..close the window!”

        

'96 tugs at your heart

Ah…….’96…..a movie which gets right into your heart and beyond. How love comes about and what it does to nubile hearts…told so sensitively and with empathy. C Premkumar, a cinematographer turned director’s maiden effort may change viewing attitudes of audiences. No mindless orgy of violence, or heroism for heroism’s sake, expensive settings and costumes, song sequences in alien land with pronounced trick photography or forced comic sequences.  It’s as close to realism as possible. The full houses even in Kerala speak of the people’s connect with honest sentiments. First timers always put in their 150 per cent effort. Premkumar certainly has.

The movie has flashbacks intelligently scattered at opportune moments, just when you were wondering what…..An ordinary middle class school and a loving bunch of high school kids. A shy boy and a pretty girl who can sing. They harbor feelings for each other but don’t make it very obvious. Classmates are in the know.  The sweetness of the film lies in the way these aspects are handled…cut to the present…a burly man touching 40, leading a rough and tough life, who is a photographer and a teacher, coming by his old school amidst work. Memories rekindled, classmates contacted and a reunion organized.

Twenty two years melt into nothingness as the buddies (class of ’96) meet. The old sweethearts who were abruptly separated while still in school also meet face to face. At this juncture, it would not be fair to not talk of the bgm that brings out their heart rending feelings. Music is by Govind Vasantha, of our own Thaikkudam Bridge. Throughout the movie, music is a huge value addition. The story is told in simple, apt visuals, from the heart, of the heart. 

Vijay Sethupathy as Ram is lovable in the lead and Trisha as Janu has a lot of scope to emote which she does very well. She appears in just two sets of clothes as the story is played out in a single night. Her expressive face says it all.

The younger version of Ram is played by Adithya Bhaskar and that of Trisha, Gouri G Kishan. These teenagers get a permanent place in your hearts. Not a scene lags and the script ensures that you are right in the midst of the action. Even the short role of the teacher is so realistic and well directed. Young Janu, full of innocence, yet individualistic, gets to put across a gamut of emotions which she does with elan. Both of them though newcomers, come out in flying colours.

Devadarshini acts as one of the classmates. Her daughter Niyathi, who looks just like her, plays the younger version. Gouri, of course, is not related to Trisha but her smile and demeanour is convincingly Trisha junior. So many scenes stay with you long after you leave the cinema. To list them would spoil the viewing experience of those who have yet to see the movie.

’96, sweet, simple and nostalgic, leaves you stuck in college or school.