'I've compromised on all my films'-Kamal

Kamal, one of the best directors in Kerala, is ready with his latest film, Karatha Pakshikal, starring Mammootty, Meena and Padmapriya.

The ace director has made 34 films in the last 20 years, one of the most notable ones being Perumazhakalam. Some of his films like Niram and Swapnakoodu have broken box office records in Kerala.

But Kamal says his best yet is Karutha Pakshikal, as he has done the minimum compromise in it.

He chats with Shobha Warrier about his film that releases on November 17.

You make films like Perumazhakalam and Megha Malhar as well as commercially successful ones like Swapnakoodu and Niram. What is your idea of a good film?

Films are for enjoyment. They should be enjoyable to the targeted audience.

What exactly do you mean by enjoyment? Happiness?

Not exactly. How do you feel when you read a good book, look at a good painting, listen to good music? There are people who enjoy fast music, others who enjoy ghazals, and still more who love classical music. I want my audience to have the same feeling when they watch my films.

I don't like to make realistic films because those are more like documentaries. I like to look at people and situations with a detached mind. I also like to fictionalise things. As a professional, I would like to have a target audience too.

I make a living out of making films but I did not drift into this profession to make money. I am a filmmaker because I love making films.

Even when I make a commercial film like Swapnakoodu (Meera Jasmine, Bhavana, Prithviraj), I try to see whether there are any ingredients in the film that I can enjoy.

Can you detach yourself from your own films and watch them?

No, that is not possible.

When did your passion for filmmaking start?

When I was in college, I became a serious film-watcher. I grew up in the late 1970s when the film society movement -- started by people like (director) Adoor Gopalakrishnan -- was very strong. Even the literary movement was very strong in those days. The political atmosphere was very volatile with the Emergency, the Naxal movement, etc. Naturally, the youth of Kerala had strong views on many issues. So, I grew up in an atmosphere when art forms had the best of times.

Did you have to struggle to be a filmmaker?

Fortunately, no. My uncle, an advocate, and a man passionate about films, decided to make a film. He chose a short story that I wrote in my college magazine, and both of us wrote the script. So, at the age of 20, I became a scriptwriter. It was an offbeat film with death as one of the characters.

As luck would have it, I got a chance to assist great filmmakers like P N Menon and K S Sethumadhavan. I became an independent filmmaker in 1986 with Mizhineer Pookal, starring Mohanlal, Urvashi and Nedumudi Venu. But it was my second film, Unnikale Oru Katha Parayam, again with Mohanlal, that got me attention.

You said as a professional filmmaker, you have to make commercially successful films. Does that put pressure on you as a filmmaker?

It is a question of my survival too. I make films like Niram and Swapnakoodu with youngsters in mind, and both films were very successful. But the truth is, commercial success of such films makes me guilty and I feel this is not my kind of cinema.

And you felt guilty because you had to compromise to make such films?

Exactly. That is the bitter truth. Films like Niram and Swapnakoodu were liked by youngsters and the producers made a lot of money. But I was dissatisfied. Usually, I go to my next film carrying the guilt of making a commercially successful film. After Niram, I wanted to make a film that will satisfy me. That's why I did Madhuranombara Kattu. It was a serious film.

So far, which is the film that you have made without any compromise?

To tell you the truth, none. I've compromised on all my films. But I have made Karutha Pakshikal with very little compromise.

What about Perumazhakalam?

I have made compromises for the theatre release of Perumazhakalam by adding unnecessary songs.

Those songs neither add any value to the film nor made it a box office success. It was a mistake on my part. I was misled; not by others but my own preconceived notions.

I removed them when I sent the film to film festivals and award committees. I know the songs affected the strength and flow of the film. Unfortunately, the common audience likes songs and comedy. As a filmmaker, I am forced to compromise to please the audience. I think such tastes are born out of habit. Our audience is used to such films and a few films of Adoor or Aravindan won't change that habit. But I am sure if we go on feeding them good films, they will slowly change.

I tried to eliminate those mistakes in Karutha Pakshikal. There is a song in it but it is integrated into the film.

Why did you decide to cast Mammootty? Was it aimed at commercial success?

Mammootty has been a part of the film from the day we discussed the idea. Mammootty has acted in my films earlier too. In this film, I have not used Mammootty as a star. Has he not acted in Adoor Gopalakrishnan's films? Similarly, he is Murugan in my film.

When Mammootty has been acting in commercial films, how did you think of him as a poor Tamilian who makes a living out of ironing clothes?

That is the specialty of the film. While we were talking, Mammootty showed eagerness to portray a role that he had not done before, and he seemed to like this character.

It is a common sight to see people like Murugan in the urban centres in Kerala. They are there in all localities and all of them are Tamilians. Unfortunately, they live a life of isolation in Kerala.

I wanted to highlight the injustices done by the Kerala society to this community. So, in the film, Murugan's blind daughter does not get eyes after Meena dies because her husband thinks it demeaning to donate his wife's eyes to a very poor Tamil girl. This is how the hypocritical Kerala society behaves now.

When did you start noticing this hypocritical nature of Kerala society?

I have been watching the degradation for quite sometime. As all of us are making films for this hypocritical society, we try not to show the bitter truth. We hide such realities because we know people will not like to see those things.

I myself did such a thing in Megha Malhar. A couple, who were in love when they were young, meet after they get old. Then, they realise that they still yearn for each other. But as I was scared of this hypocritical society, I made them part ways though I knew they really wanted to be together in their old age.

Just imagine a few decades ago, we have made the most offbeat and radical films here. Now, Kerala society has become more intolerant, self-centred than any other society in India. I am sure we will not be able to make a film like Nirmalyam (by M T Vasudevan Nair, which won the best film award at the National level) where the occult spits on a deity. Today, if we do something like that, the theatre showing the film will be burnt.

Is it not the duty of writers and filmmakers to mirror the ugly side of society?

Yes. But as far as filmmakers are concerned, nobody wants to take the risk and antagonise the audience. This happens not only in films but also in literature.

Let me ask you about the most talked about film of your career at the national level, Perumazhakalam. What attracted you to the news report?

When scriptwriter T A Razak told me about this news report, I felt it was a situation that anyone in Kerala could relate to because many families in Kerala are connected to what was happening in the Gulf. Then, I thought we could tell this story from two angles -- from the angle of the two men in the Gulf and from the point of view of the two women who were left alone in Kerala. I decided to tell the story of the two women.

Why did you choose rain as a symbol to highlight the pathos in the lives of these women?

Kerala is one society that loves rain because it is part of our lives. Our love, sorrow, happiness, separation, birth and death are connected to rain. Rain can make us happy when we are sad. Rain can alleviate our pain. Rain can influence our lives in many ways. That is why I decided to link the lives and the sorrows of these women to rain.

At the Goa film festival last year, the film was much appreciated but I am not sure whether the Kerala audience accepted the film the way I wanted them to. It disappointed me.

Mammootty's new avtar

The year 2006 has not been a very good year for Mammootty. Most of his films were poor commercial films in which he tried in vain to look young.

His last good role was all the way back in 2004, with Kazhcha.

Perhaps the failure of this year's films prompted Mammootty to go to serious filmmakers like Kamal (of Perumazhakalam fame). The duo (seen in the picture) will now work together in Karutha Pakshikal, which is scheduled to release this year.

In Karutha Pakshikal, Mammootty sheds his star image and plays a poor Tamilian, who makes a living in a city in Kerala by ironing clothes.

Kamal claims the film is one of his best works so far.

The USP of Karutha Pakshikal, according to Kamal, is the deglamorised role Mammootty played.

Murugan comes to a city in Kerala from a small village in Tamil Nadu to make a living by ironing the clothes of the rich. He has no identity in Kerala -- no ration card or voter ID card. Nobody acknowledges his existence in the city but he is essential to all who live there.

His wife, played by Padmapriya, dies during her third childbirth leaving him to take care of his three small children -- Mayil, Azhagappan and the blind Malli. After the death of his wife, Murugan brings them to Kerala.

Padmapriya made her debut in Malayalam as Mammootty's wife in Blessey's Kazhcha. This is their fourth film together.

Murugan has a special love for Malli (debutante Malavika Nair) because she is blind and also as she could not enjoy her mother's love. Her world is the one explained to her by her father. She sees how he sees the world.

Every night, Murugan tells her of the stars in the sky. She knows about flowers, colours, people, God -- all through the eyes of her father.

Murugan has only one desire in his life -- to bring light to his daughter.

Then comes to the locality a lady, who is in the secondary stage of cancer. Her marital life also had not been smooth as she never had a good relationship with her husband. So, it was a kind of escapism for this lady.

Murugan collects clothes from her house for ironing, and she forms a bond with his blind daughter. Later, she tells Murugan that when she dies, she wants to donate her eyes to the girl.

This puts him in a dilemma. Though he prays for her long life, he wants his daughter to gain sight.

The lady is cured but the good man that Murugan is, he does not get unhappy though his dream for his daughter gets shattered.

But the film ends even more tragically. Though the lady dies in the end, her husband refuses to part with her eyes.

"I want to highlight the injustices that are being heaped by the Kerala society on these poor labourers," Kamal explained.

Mohanlal is the most popular Malayalee ever

According to a poll taken by CNN-IBN, the leading English News channel in the country.
Mohanlal polled 30% of the total votes piping arch-rival Mammooty who had 22% of the votes.

The other contenders from various walks of life were the communist stalwart E.M.S Namboodiripad(17%), sprint queen P.T Usha(13%), former President K.R Narayanan(11%),and Delhi Metro Chief E. Sreedharan( 7% ).

Once again Mohanlal has proved that worldwide , he is not only the best known Keralite but also a living legend. When contacted and asked to comment on the CNN- IBN results, Mohanlal said:" I believe in unconditional love of the people and Iam getting this love back. On second thoughts i would have voted for K.R Narayanan."

Yes Your Honour -review

Try out Yes Your Honour,
one of the better comedies of the year. Sreenivasan-Innocent combo brings to the screen a refreshing new chemistry that works. What makes the film a laugh riot is veteran writer T.Damodaran’s script which has been told in a humourous manner by director V.M.Vinu. Adding pep is the lead characters as lawyers who are always going for each other in a typical Tom & Jerry style of upmanship.

Ravishankar ( Sreenivasan) is a law graduate practicing as junior to a leading lawyer Venugopal (Innocent) for the last 12 years. Venugopal treats him like menial servant in his house, who looks after his pet dogs and has never entrusted him with a court case. Venugopal is a ruthless and unscrupulous lawyer whose main job is protecting an ex-minister John Varghese (Sai Kumar) involved in a sex scandal and Mustafa (Ramu) his partner in business and crime.

Ravishankar is an honest and upright man whose wife Maya (Padmapriya) fights for women cause. One day Ravi is humiliated by Venugopal to such an extent that he beats him up and leaves him. Due to the support of Judge Mukundan (Thilakan), Ravi gets a new lease of life as a public prosecutor. The first case that Ravi handles is the mysterious murder of DFO Sarah Shetty and he has to cross swords with Venugopal who is trying to protect John Varghese by manufacturing evidences! All this leads to a big twist in the climax.

The director and his writer have taken a dig at the state of our judiciary which is seeped in corruption. The climax is the highlight of the film and the message that “Justice will prevail” has been effectively told. However, there was no need for the two songs tuned by Deepak Dev as it mars the tempo. And what was the need for the long drawn out fight scene and all the blood and gore?

Still, at the end of Yes Your Honour you come away smiling only because of Sreenivasan. He chews up the screen and steals the show as advocate Ravishankar. Be it his harangue in the beginning of the film from a scene where he serves lunch to Innocent and his tongue-in-cheek dialogue, Sreeni is simply smashing. Watch out for Innocent, as the mean lawyer and he has great comedy timing. Jagathy as a man who deals in hired witnesses reworks his tried-and-tested comic antics one more time. Padmapriya is proving to be a fine actress with each film. There is a large bunch of talented artists like Thilakan, Sai Kumar, Babu Namboothiri, Riyaz Khan and Poornima who are good in cameos.

The second half drags a bit but nevertheless go have your share of fun with Yes Your Honour.

Busy bee! Mammootty

Mammootty in a recent interview said: “I have never planned my career. You can’t plan anything in cinema, as it’s not a 9 to 5 job.”

But the Malayalam film industry says that he is a meticulous planner, who slogs 24*7 working out his strategy.

Let’s take a look at the next six months in Mammootty’s release calendar.

• On October 21, he had his Ramzan release Pothenvava,
  
• 27 days after that, on November 17 he has the off-beat Kamal directed Karutha Pakshikal.
• 38 days later for Christmas he has Blessy’s Palunku.
  
• In January 2007, he has Ranjit’s experimental film Kaiyoppu
  
• In February he has Shafi’s mass comedy Mayaavi.
• And Mamootty’s big summer release in March is likely to be Amal Neeraj’s Big B-The bodyguard!
• So in a span of six months he will have six releases!
  
• Added to all these commitments, he has confirmed to act in Hariharan’s Thalakkal Chandu
  
• films with Shyam Prasad, Major Ravi, Fazil and KK Rajeev, which will start rolling according to his convenience.

Phew! It clearly means that Mammootty will be planning his career and strategy with utmost care and working round the clock. He will also become the only superstar in the world with a release every month!!

`Chakkaramuthu` turns `Chakkarapottan`!

After the lukewarm response to Dileep’s Chakkaramuthu, the producers Seven Arts and director Lohithadas have gone for a total revamp of the film.

Now the film will be known as Chakkarapottan and the climax has also been changed! In the new climax, Dileep does not die and Kavya is not shown in a mental asylum! Instead they hold hands and walk into the sunset very happily.

All new posters of the film have the new title and it is being promoted as a comedy entertainer. The trade is shocked that a film has changed its name 10 days after its release and a new happy climax added.

But the bad news is that this name change and the new climax have not helped the film in anyway at the box-office.

Suresh Gopi in Vinayan`s `Black Cat`!

Suresh Gopi and director Vinayan are coming together in Black Cat an action entertainer. Please note that Suresh Gopi is not playing the role of a `black cat` in charge of VIP security!

His name in the film is Black as he wears only black sleeveless vests and shots and is sort of a hired goonda in the film. He is also a glutton in the film who hogs like a pig.

It is an all out action film in which Meena is Gopi’s heroine. The others in the cast include Nedumudi Venu, Ashish Vidyarthi, Mukesh Rishi, Captain Raju, Harisri Asokan and Karthika.

Black Cat is produced by Rajeevan and is written and directed by Vinayan. Says Vinayan: “It is going to be a racy entertainer with all commercial ingredients”.

Interview with Nayantara

Nayantara is a very busy young actress these days. Her friends, relatives and fans have been calling her up on her phone to congratulate her on being chosen as Rajinikanth's heroine in the new film 'Chandramukhi'. "When my dad and mom read about it in a leading magazine, they were shocked!" she said.

She wasn't talking about the 'Chandramukhi' deal. She was referring to her decision to stay single for the rest of her life.

Why such a tough decision?

People live and people die. I wanted to be different from the rest of the crowd. You don't die of you don't get married, right?

Any big inspiration behind the decision?

I know what you are hinting at. No, there is no love failure. I want my dream-husband to be a man who loves only me. I don't want a man who pretends to love me.

But not all men are like that! I know. But, it is difficult to find a man like that. Atleast 99% of men are the ones who pretend. Most of the families who claim that they are happy and well-contented are just faking it.

Okay, let's talk about your career. How did you get into Tamil films?

The director was looking for a new actress for 'Aiyya'. The director saw my picture in magazines. He liked me.

But you need to be very glamorous in Tamil. Is that okay with you?

I play the role of a village girl in the film. Fortunately, the role doesn't require too much of glamour. Those are the kinds of roles I'm looking for.

How about acting with Rajini? Is that sheer luck too?

I still haven't recovered from the shock. For a new and upcoming actress like me, there can't be a bigger stroke of luck! I had only seen Rajini in films until now.

How did you end up in the film?

'Chandramukhi' has two heroes, Rajini and Prabhu. They were looking for a heroine for Rajini. They saw my pictures in Tamil movie magazines. The still photographer and Rajini liked the pictures. They met with my Chennai manager named Ajith and spoke to him. I still cant believe that I have got selected for the role. Wow!

Will you be concentrating more on Tamil films in future?

I'm simply looking for good roles. I don't mind which language they come from.

Any romances when you were studying?

I was studying in Gujarat's Jamnagar. I didn't even now what love was. I was in my Class VI. My classmate, a Punjabi boy, gave me a love letter. Since then I have got many love letters, but all the affections were one sided. I don't make a fuss about them.

Have you received any such proposals after entering films?

No. They don't know how I will react.

Kavya Madhavan and Padma Priya - The competition hots up

With several actresses from Malluwood in Tamil now, the battle for supremacy here has narrowed down between

Kavya Madhavan and Padma Priya.

Both have couple of their movies getting released this month.

Asin, Bhavana, Nayantra, Gopika, Navya Nair busy in Tamil film industry, Kavya Madhavan enjoyed a good run in Malayalam, being part of several successful ventures.

Now her numero uno position is under threat from Padma Priya. Kavya Madhavan has Chakkaramuthu and Vaasthavam getting released this month, while Padmapriya would have Karutha Pakshigal with Mammootty and Yes Your Honour with Srinivasan getting ready for release.

The coming days will decide the real winner.

Inspector Garud to sequel C.I.D Moosa

Inspector Garud is likely to follow CID Moosa. Actor Dileep, who appeared as CID Moosa, is to appear now as Inspector Garud. The movie is expected to start its shooting by next month.

The film is directed by Johny Antony under the production of Milan Jaleel. The movie is sure to be a comedy-based subject about a police officer who has got little ability of his own.

The director has planned to attract the young audience and treat them with his movie. The cast of the movie includes the crew which has worked in the movie Kochi Rajavu.

Again, Kavya Madhavan is to pair against Dileep in this movie. Sibi K. Thomas - Uday Krishna have created their script for this movie.

Lucky pair- Dileep and Kavya Madhavan

Dileep and Kavya Madhavan have done nearly 14 movies together many are blockbusters. As a pair they made their first appearance in Chandranudhikkunna Dhikkil in the direction of Lal Jose.

Their blockbuster list includes Meesa Madhavan, Runway and Kochi Rajavu. At present, the pair is doing a movie Inspector Guard in the direction of Johny Antony.

A chat with Meera Jasmin

Taking time off from the shooting of her Telugu film 'Gudumba Shanker' with Pawan Kalyan in Hyderabad, Meera Jasmin, this year's recipient of the national award for best actress her performance in the film 'Padam Onnu Oru Vilapam', talks to Chennaionline about her films and experiences.

The talented actress is very focused about her goal, her head screwed firmly on her shoulders.

When did you first hear about the award?
I was in Chennai that day (August 13) when around midnight my manager Giri rang up to tell me that I had won the award. I thought it was a false alarm, and wasn't ready to beleive it. Then early morning, at 5.30 a.m., a reporter from a Malayalam daily called up from Kerala and told me the news. Then people started calling me and congratulating me. But I waited for the final announcement. By 11 a.m. the news got confirmed. I prepared to leave for Kerala, and when I reached the airport, the whole press was there to give me a warm welcome. I was really touched. It's an unforgettable experience for me!

Had you thought of anyone as a competitor for the award?
I'd heard that Aishwarya Rai was in the reckoning and I thought I'll surely lose out to her.

Did you make any special preparation for the role?
Nothing much. I liked the story, and I loved the character of Shaina. I was able to relate to her problems. I converted all my emotions to give shape to that character. With director T V Chandran guiding me, I got involved in my role. I'm thankful to Chandran for his encouragement and guidance, and the credit for the award goes to him too.

Any role models?
Quite a few like Sarita, Revati, Suhasini, K P A C Lalita, Shobhana...and many, many more. I've seen their films, and I too want to be like them.

You've acted in all the four southern languages..how was the experience?
I was very comfortable acting in all these languages. But the really challenging roles came from Malayalam. I want to do stronger roles in Tamil and Telugu too. Not just the singing-dancing types. I don't mind waiting for the right roles...

Any dream role?
Nothing in particular. For me, whatever role I get is the dream role of the moment.

Who among your heroes do you have a good comfort level?
For me, it doesn't matter much who my co-star is. It's the role that counts. But everyone says my screen chemistry is good with Madhavan. Working with Pawan Kalyan has also been an enjoyable experience.

Any directors you'd like to work with?
I've worked with some very good directors in Malayalam. I'd always wanted to work with Mani Ratnam, and was thrilled when I got the chance. I would like to work with him again. I would also like to work with some of the Bengali directors like Gautam Ghose....

How do you generally approach a role?
I've a lot of memories, both sweet and sad. When I perform a role, I bring them back whenever I need them. I relate the emotions of the character I play to my emotions and experiences. I love to recollect these things. It all helps me enhance my performance.

What are the films you're doing now?
It's my last day of the shoot for this Telugu film. I'm going to dub for it myself. There's a film in Malayalam to be directed by Kamal, 'Perumazha Kadathu'. It has Dilip and Prithwiraj, but it's a heroine-oriented subject. And there's 'Chembattu' to be directed by my guru, Lohit Das, where I have an exciting role.

The person you'd like to dedicate the award to?
To my guru Lohit Das. I'll always be grateful to him. He discovered me and moulded me. I was raw, without any artistic background when I entered the field. I didn't even know if I could act or dance. But he had confidence in me. I also thank God for it was due to His blessings that I won the national award!

Pothen Vava -Preview

One of the popular hit actor-director combo of the 80's and 90's, Mammootty and Joshy, is coming together after a long gap with a film titled "Pothan Vava" for Lal Creations.They have done more than 25 films together and most of them were hits.

The movie tells the story of a special bonding relationship of Pothan Vava (Mammootty) and his mother 'Vakkeel Amma'. She has the guts and will power of a male. Pothan Vava will do anything that she asks him to do. Pop star, Usha Uthup, enacts the role of Vakeel Amma. Gopika plays the female lead and rest of the cast includes Nedumudi Venu, Samvritha Sunil, Kunjan etc. TV comedy artist Biju Kuttan plays an important role in this movie.

The special combination of mega-star Mammootty along with director Joshi and hit making team Lal Creations and hit script writer Benny P. Nayarambalam, Pothan Vava gives much expectation to the Malayalam movie lovers.

It is scheduled for release by the end of October during Ramzan.

Lal Jose and his "classmates "

Classmates was a small Onam release, competing with films starring Mohanlal, Mammootty, Suresh Gopi and Dileep.

Surprisingly, while Mammootty and Gopi's films bombed, and Mohanlal's film did just average business, the 'small' film created history at the box office. Released with no fanfare, the film's success came through word of mouth raves.

Director Lal Jose began his career with Meesa Madhavan, a hit comedy on the lines of Laurel and Hardy. After the not-so-successful Pattalam with Mammootty came the daring Chanthupottu, about a cross-dresser. And the subsequent Achanurangatha Veedu is widely rated as one of the best films of 2005.

Jose spoke to Shobha Warrier about Classmates, nostalgia and Achanurangatha Veedu. Here are some excerpts:

What was the inspiration behind making a film on college life? Were you just nostalgic?

The truth is that I wanted my first film to be about my college life, and this is the first idea that came to my mind.

Then why did it take so long for you to make this film?

I only had the milieu and a few characters in my mind, not a proper story to string those characters together. When I got a proper story, I decided to make it into a film.

Does that mean Classmates is autobiographical?

Yes, you can say so. But I'd say everyone who has gone to college in Kerala might feel it was their story because all of them might have experienced something like this when they were in college. There'd be a KSU (Kerala Students Union) leader, there'd be an Arts Club Secretary, there'd be singers, and there'd be beautiful girls who admired some of the boys...

Which character in the film do you identify yourself with?

Sukumaran, the character played by Prithviraj, has lots of my traits. He is also as old as me. On the other hand, I wanted to be Murali, played by Narain -- I wanted to be a singer but as a student, was a guitarist. My best friend Dinesh was a singer and guitarist, and won lots of prizes. And had lots of girls as admirers. I have seen girls looking at him admiringly when he sang playing the guitar, and they used to ignore me.

You felt jealous?

Extremely jealous! Though I called him Murali in the film, he is actually my best friend Dinesh. Almost all the characters were people known to me when I was in college.

So making the film must have been a really nostalgic trip?

Of course. It was as if I was in my college all those 50 days of shooting. I never got the feeling I was directing a film; I was in fact reliving what I'd experienced years ago.

You said Sukumaran had lots of autobiographical elements. Now, his political leaning was to the left in the film. Did you have a political ideology as a student?

Yes, I was politically quite active. You can say I was also a leftist. I must say here that college life today is totally different. We had the freedom to fight, compete and indulge in naughty things but today especially in the private institutions, students only study; there are no political activities, no fights, only studies. What kind of college life is this? If we had a slice of life in the college campus in those days, it is totally lacking today. Student politics has a major role in teaching us about life and shaping our character. Today, we have institutions to make engineers, doctors and lawyers but not leaders and politicians. All our leaders have come up because we had student politics in the campus.

You don't find today's generation idealistic but if you look back, the generation before yours also might have said the same thing about you. Plainly speaking, isn't this simply the generation gap?

I am of the opinion that with technology, today's generation is losing out on relationships and human bonding. A college student asked me whether I remembered the names of my classmates even after 15 years. I told her I remembered not only the names of my classmates but their parents and in what profession their parents were. But she admitted she wouldn't be able to remember even three names. This is the difference between those from my generation and today's generation, but I don't blame the kids; it's not their fault.

How did the youngsters of today react to Classmates?

Many told me they were jealous of my generation. They felt they were missing out on many things in life. I was the students' wing leader of a political party while in college, and if there was a contentious issue to be dealt with -- like if they were going to fell a tree in the campus -- I would barge into the principal's room and fight with him. But today's kids do not have that courage to do so. How many private colleges give students the freedom?

When you were making the film, did you think it would be such a big success?

The only hope I had was the belief that everybody has memories. If I could softly awaken the memories of a bygone generation, I knew I would win. I knew I was taking a risk, and I was not sure whether I could make many people nostalgic.

Plus, my film didn't have any stars in it. I also knew there were only two eventualities: it would either be a wash-out or a big hit. I was sure about one thing; if somebody liked it, he might see it again. I told the producer this.

Many people told me I should make the film at a faster pace; there should not be any pauses or silences in the film, as today's generation does not have the patience for slow films. I chose to defy all those beliefs. There were many, many moments of silence and pauses in my film. In the second half, I made my characters tell the story to the audience, and again many people told me that the audience would not have the patience to listen to such long monologues.

Who do you think are the repeat viewers of the film?

The film is liked by a 17-year-old and also a 60-year-old who still has a 17-year- old inside him. It is not news if a youngster watches a film many times, but many 50-60 year olds have watched the film again and again. Classmates has kindled memories that were lying dormant in them. That is the success of the film. Everyone could identify with my characters.

'We had the freedom to fight'

October 10, 2006
Each of your films is different. Have you been consciously looking for different subjects?

Yes, I consciously look for subjects that are different. Unless I have something new to say, what is the point in making a film? The same subjects do not excite me.

Of all the films you have made so far, which was the most risky subject? Was it Chanthupottu?

Yes, it was Chanthupottu. I first saw (the character) Radhakrishnan in a play and I liked him immensely. I liked the goodness in him, and the backdrop against which it was happening, the sea. I have always been passionate about the sea. Chemmeen was shot at my mother's place and I used to hear those stories even as a child. From then on, it was my dream to make a film with the sea as the backdrop.

I knew it was a risky proposition because people looked at characters like Radhakrishnan with aversion and hatred. To make people like such a character was a big task.

I would like to call Achanurangatha Veedu offbeat...

I would call it personal cinema. My other films were made with the intention of succeeding at the box office but Achanurangatha Veedu (left) was made without any compromises. It is the kind of cinema I believe in. You can also hear my voice of protest in it. Yes, I wanted people to see the film and appreciate it but I made the film the way I wanted to.

I felt it was my responsibility as a filmmaker to highlight certain issues that plague our society today.

But since people didn't go in large numbers to see the film, the message might not have reached them, right?

Many did not see the film when it was in theatres and that disappointed me. But when it was released as a CD, it was a big success, and I am happy that what I wanted to say has reached the people.

Suresh Gopi can't save Pathaka

Channel wars are a modern reality. The high and mighty manipulate the media to settle personal scores with opponents. Most political battles are fought in TV studios. And he who has greater control over the airwaves is the ultimate winner. This tragic scenario is all too real today.

Now, imagine this situation tackled by a Suresh Gopi film directed by K Madhu, a man with a proven track record for making some of the most memorable thrillers of Malayalam cinema. You expect at least an average film bordering on realism. But, while you get accustomed to the chilly and darkened atmosphere of the theatre, the realisation slowly dawns that your expectations are too optimistic.

Pathaka is rumoured to be made to resurrect the image of a fallen real life political leader following a sex scandal, but this childish attempt certainly defeats its purpose.

There is a progressive young Minister of Industries with an impressive lineage; our hero, he is honest and incorruptible. These qualities are reason enough for him to be an eyesore for his opponents within the coalition government as well as without. Corruption charges are repeatedly levelled against him, with the aim of dethroning him from the coveted second-in-command position. When these tactics fail, his foes plant a sleazy smear campaign with the help of a TV channel, resulting in him being compelled to submit his resignation. He then pays them back in the same coin by starting his own channel.

Suresh Gopi, as the hero George Tharian, tries his best to make something out of this wasted film. He has the dialogues, the so-called punch lines, but they fail to put any pep into the proceedings. The much publicised presence of Sheela as his mother (in an Indira Gandhi get-up!) is wasted as she makes only sporadic appearances; the actress deserved better. For the last few months, Sai Kumar has only played negative characters. Here too, he repeats himself, even though it is after a contrived about-face.

The problem is Pathaka does not tackle the subject convincingly. It doesn't dwell on the inner workings, the compulsions and motivations behind the ever growing 'visual media' (despite throwing the term at us quite a few times), with a new channel mushrooming every fortnight. This is when we miss the days when films like Pathram (starring Suresh Gopi and Manju Warrier) were made.

Yet another disappointing Onam release.

Classmates Superhit !!!

"Classmates" is about a group of students coming together on their college campus after 15 years to commemorate the wishes of a deceased friend.

We are first introduced to P. Sukumaran (Prithviraj), a haggard-looking diamond merchant from Mumbai with an overgrown beard, then comes Pious (Indrajith), a suave, goatee-sporting gentleman who has come down from the Gulf with his family for the reunion.

Tara Menon (Kavya Madhavan), a popular dancer, joins in. MLA Satheesan (Jayasurya), a wily and ambitious politician with his personal assistant Vasu (Vijeesh), who is also a student of the same batch, makes an entry.

The last to make an appearance is the quiet girl Rasiya (Radhika).

These are the main players in the story. They have gathered here for the inauguration of an auditorium dedicated to the memory of their friend Murali (Narain), a talented singer - and the son of faculty members of the college played by Balachandra Menon and Sobha Mohan - who had died in the college hostel.

On the night of the get together, Sukumaran is found strangled by Murali's guitar strings. Has he tried to commit suicide or was it an attempted murder?

The story then moves back and forth in flashbacks to show us differences between the lead players. This device works well in parts as it is unevenly treated.

The film depicts the upheavals in the campus affecting the lives of lead players and playing havoc with their destinies.

But somewhere along the way, debutant writer James Albert shifts gears and takes the suspense-thriller route that culminates in a solution to the mystery behind Murali's death.

Maybe it is a trick played to flummox the audience, but somehow the effort fails to excite.

Another jarring note is struck by the turnaround in the relationship of Sukumaran and Tara.

Jose, who is known for his flourishing style and technical finesse, does a good job. Though he has shot almost the entire film on a single location, we do not feel the monotony because of Rajeev Ravi's competent cinematography.

"Classmates" tells a campus story with a difference, and it is a well-narrated tale.

'Ente Khalbile' top Malayalam song of fortnight

Source: IANS
The top five Malayalam songs are:

1. "Ente Khalbile" - Film: "Classmates"; Music: Alex Paul; Lyrics: Sarath Varma; Singers: Sujatha and Vineeth Sreenivasan. A song with Mappila flavour tops the list. This is the latest addition to the hit list of Vineeth Sreenivasan.

2. "Chandirane" - Film: "Mahasamudram"; Music: M. Jayachandran; Lyrics: Kaithapram; Singer: Alex. This is a song to show off both Mohanlal and Rahman's dancing prowess, and it succeeds.

3. "Kathirunna" - Film: "Classmates"; Music: Alex Paul; Lyrics: Sarath Varma; Singers: Devanand, Jyotsna and Soniya. Director Lal Jose is known for his innovative song picturisation and this song has his stamp.

4. "Kando kando" - Film: "Mahasamudram"; Music: M. Jayachandran; Lyrics: Kaithapram; Singers: G. Venugopal and K.S. Chitra. M. Jayachandran makes a comeback to this list after a long gap and proves his versatility with this album.

5. "Mugile mugile" - Film: "Keerthi Chakra"; Music: Joshua Sridhar; Lyrics: Gireesh Puthencherry; Singer: M.G. Sreekumar. This song prolongs its stay on this list.

Sreenivasan - It’s different role !

Amidst action-packed films in Malluwood, Sreenivasan takes a different route playing the hero in Yes Your Honour.

He plays the lead role which is a realistic portrayal of the society.

Director V M Vinu is wielding the megaphone for the movie. The movie dwells in detail about the life of a junior lawyer, who realizes that his idealistic notions of society and high aspirations are far from reality.

Padmapriya plays Sreenivasan's wife in the movie. 'It's an interesting role and the theme is relevant,' says Sreenivasan.

The movie has music by Deepak Dev. A major portion of the movie has been completed and the movie would hit the screens soon.

Why I have a grouse against Mohanlal

Over time, movies have become part of my identity.

A second generation Indo-American, I have relied (perhaps too much) on Indian cinema to keep me culturally anchored to the subcontinent, specifically Kerala.

I remember watching films from different parts of the country as a child (mostly Malayalam, Tamil and Hindi movies) and, coupled with growing up in the heart of New York City, I found myself drawn into a storm of languages. I admit that I have almost always preferred the cinema of the West to what I have encountered in India, at least on the level of cinematic grammar.

Growing up between two cultures, comparisons cannot be helped sometimes. I grew up paying more attention to the performances of actors in Indian cinema than to the actual productions.

Among my favourite actors are Om Puri, Naseeruddin Shah, Soumitra Chatterjee, Mammootty, Karthik and Kamal Haasan.

But of every regional language I was exposed to, Malayalam films became regular fare for me not only because I spoke it with the greatest amount of fluency but also because the actor who most captivated my attention:
Mohanlal

Mohanlal is now celebrating his 25th year as an actor. For nearly 20 years, I have been enthralled by his magnificent talent. I can easily say it is solely because of his ability as an actor that I began to take note of Malayalam and, in the long run, Indian cinema.

This is my humble tribute to his lasting contribution and his influence on this viewer.

First, I actually have a bit of a grouse against Mohanlal. I believe he has brought me as close to tears as I have ever been watching a performer. Barring some of the best in the West.

I remember after watching Kireedam, I was left wondering when the queasy sensation in my stomach would subside and when the lump in my throat would ease its swell. The same effect came over me after watching movies like Sadhayam, Kamaladalam, Bharatham and Chenkol.

I suppose I forgave him for hitting me so hard with these performances because of his lighter work in movies like the sidesplitting Chitram, Kilukkam, Gandhi Nagar Second Street, Sanmanasullavarku Samadhanam and Naadodikattu.

The greatest thing about Lal is not how much he can move you to tears or how many laughs he can score, but the marvellous balancing act he achieves by combining both the tragic and comic. The result - as seen in movies like Dasharatham, Varavelppu, Thalavattom and T P Balagopalan M.A. - is nothing short of a multifaceted, brilliant performance.

In whatever manner Lal has moved me over the years, I knew it did not have so much to do with the filmmakers behind the production but more with the actor's tremendous presence and utterly natural portrayals.

I mean no disrespect towards the countless Malayalam filmmakers who have hung in with Lal over the years and given him decent material to work with.

Often, I watch a Mohanlal film and marvel at how the subtlety of his craft helps blunt the edge of the melodramatic elements a filmmaker would throw into the picture. He could literally lift a film out of the depths of mediocrity.

Of course, there are several progressive filmmakers who have exploited his ability with élan. Among them are Hariharan (Panchagni, Amruthamgamaya), G Aravindan (Vasthuhara), Mani Ratnam (Unaroo, Iruvar), Shaji N Karun (Vaanaprastham) and Ram Gopal Varma (Company). His performances in these films have earned him the right to be compared with the likes of Robert De Niro.

I, however, think of him more as the Gene Hackman or Jack Nicholson of India. Take your pick.

No matter whose league you choose to place him in, nowadays, Mohanlal is on the ropes. In his home state Kerala, Lal is seen playing roles with about as little variety as any other moustache-twirling, villain-thrashing, Southern action star. Lal is now either playing the roguish hero (a role he already perfected in Devasuram) or the youth in search of a love and/or a livelihood.

Perhaps the scale that symbolises Lal's career -- balancing crass commercial on one end and meaningful cinema on the other -- has been tipped in favour of the masses.

Whatever the reason, the truth is clear: as sentimental as it sounds, I miss the Mohanlal who experimented with a plethora of roles and looked like he was having fun doing it.

Last year, I noticed that fire in him when he enacted the role he was given in Varma's Company. His first role in ages with any serious amount of depth and dimension. No one can tell me that this actor has seen his day, especially since every time he seems to be down and out, he comes out with an Iruvar or a Vaanaprastham or a Company.

Talent cannot be contained. So long as a master like Mohanlal exists, there will be a reason to keep going to the movies for another 25 years.

My favourite Mohanlal films:

• Iruvar (based on Tamil movie legend M G Ramachandran's life)
• Vaanaprastham (a Kathakali dancer)
• Dasharatham (a tragicomic rich man)
• Kireedam (a brutalised youth)
• Chithram (a husband for hire)

Varma gets dates of Mohanlal

Mohanlal has given forty days to Ram Gopal Verma for the remake version of Sholay, which is in the news for quite a time.

The film which starts rolling by the end of September will also feature Abhishek Bachchan in the lead role. Mohanlal will play the role that Sanjeev Kumar has done in the original.

Know who is going too play the role of Gabbar Singh? It’s none other than the one and only Amitabh Bachchan, who has played the lead in the original.

The super hit song of the movie Mehbooba will be remixed again and Urmila will dance to the tunes of the song.

Mohanlal is a photographer in his new film !

Ranjan Pramod former advertising executive and writer of super hit mega hits like, Meesa Madhavan and Naran is making his debut as director with Photographer featuring Mohanlal in the lead. It will be a realistic film within the commercial format and is produced by Howli Pottur under ‘Dream Team Productions’ banner.

Mohanlal will be completing K.P.Kumaran’s off-beat Akasagopuram in London and is rushing to Kozhikode on August 3 from where he will proceed to the jungles of Wynad where Photographer is being shot.

Mohanlal plays Dijo John, a press photographer who gets entangled with Wynad’s adivasi problems. The film is said to be loosely based on Muthanga killings where seven advasis were killed by policemen. Mohanlal was so impressed by Ranjan’s script that he gave him priority dates.

In real life Mohanlal loves photography and has an array of state-of-the art cameras and lenses. If you browse through his personal albums, you will find some extraordinary pictures clicked by the star himself. Photographer will be shot by ace cameraman Azhagappan and has music by old timer Johnson.

Mohanlal disappointed with release of Aran

Mohanlal has reported that he was very disappointed when he came to know of the release of Keerthi Chakra in Tamil as Aaran. He says that he knew that a Tamil adaptation will be made, but he was not aware of the fact that Aaran was dubbed in Tamil, using a different artist to voice his role.

He says “I have spoken in pure Tamil in `Iruvar' for one of the best directors, Mani Ratnam. I could have done a better job in this film also but no one told me about it. Through my friends in Chennai I came to know some scenes are added in Tamil featuring Jeeva and Prakashraj”. Sources say, Rajeev has dubbed Mohanlal’s voice in Tamil.

Besides these issues Aaran remains a huge grosser both in Tamil and Malayalam.

It just happens to Lal ettan

MOHANLAL strides out of his room at The Club, Mysore Road, onto the sets of Kannada film director Rajendra Singh Babu's, `Love'. Whiskers obscure his chubby face, and he wears a black suit, red shirt, and black turban. Is he playing a Sikh in the film? "No, this is a disguise," he says, adding with a gentle laugh, "For love, you sometimes have to disguise yourself."
In the film, Lal plays a Malayali taxi-driver in Dubai who brings two lovers together. In the scene about to be shot, he takes on another identity in order to rescue the heroine.
He is wearing disguise upon disguise, really, for his screen persona is itself a camouflage. Life `just happens' to Mohan Lal. Speak to him long enough and you're bound to hear the refrain: "It just happened." He takes on assignments `because of friendship' rather than as a challenge. His role in Love came his way because the director approached him. Ramgopal Varma sought him out for a brief but compelling part in Company. He didn't plan to act in a Hindi or a Kannada film. "It just happened."
Similarly, when he went to Delhi to collect a National Award, he visited the National School of Drama, and its director, Ramgopal Bajaj, asked him if he would act in an English-language play. He confessed that he had absolutely no experience in theatre. "From English, it became Malayalam, and then Sanskrit! It just came to be."
When Kavalam Narayana Panicker offered to direct him if he would enact Bhasa's `Karnabharam', he could not refuse, although he knew no Sanskrit. Getting such an opportunity was "a blessing for an actor", although it was also "like a trapeze without the net" since he had to memorise pages of Sanskrit verse and hold his own on stage.

There's more on the "it just happened" front. As part of Malayala Manorama's ongoing `Ente Malayalam' project for preserving Kerala's language and culture, film director T. K. Rajeev Kumar conceived `Kathayattam', a travelogue, and thought of none better than Mohan Lal to enact it. The stage, he has come to realise, requires sustained involvement. "For two hours, you become that character." The role remains with you when you go off-stage, in a way that it never does in cinema. "The instant I get off the set, I'm back to normal." Such is the nature of the medium, he explains. Emotions are fleeting and disconnected, and scenes are shot in random order.
A film shoot is a series of interruptions. He vanishes intermittently and then reappears to complete his reply. Steeped in cinema, when is he truly himself? With family or friends, perhaps? "With friends," he says without hesitation. "I have a closer relationship with the technicians, with my driver, than my family. I don't feel suddenly homesick or say, `Oh, I want to see my children now'." He remains detached from personal bonds and focussed on work. "If I miss my family so much, I should quit cinema."
Why does every male Malayalam actor, lean when he enters cinema, swell up in no time like a pappadam in hot oil? He seriously ponders all possible reasons: irregular eating habits due to hectic schedules, "something in our genes, being Indian", one's constitution ("If I drink a glass of water, I put on weight"), fans being "ready to accept us although we put on weight", and the absence of a health club culture. He finally stops sounding apologetic and declaims, "The Indian concept of beauty is flesh!" Er — that's only for women, isn't it?
A man walks into the room to give Lal his lines in Hindi for the next shot. He copies them out, transliterating in Malayalam. The first of the seven sentences reads: "Mujhe paanch biwi hain... " He reads out the dialogue twice and comments: "This is unusual." The lines being in Hindi? No, the situation — his having five wives! He is answering my next question when he is interrupted yet again. He gets up, checks his beard in the mirror, and as he reaches the doorway he says aloud: "Mujhe paanch biwi hain... "
When he returns, I ask if he has contemplated the end of his career. "It's very strange," he muses, "but no planning has been done." Once again, he explains how "things happen" to him. He was just helping out friends who wanted to export Kerala cuisine, and he got so involved in the venture that there is now a restaurant in Dubai which bears his name: Mohan Lal's Tastebuds.
One comes away with the feeling that if, one day, Lal loses all he has, he will simply open a paan shop and manage to survive. With sanity intact. As Mohan Lal, Everyman.

MOHANLAL+ MAMMOTTY+dileep in one movie

A film starring Mammootty and Mohanlal has been a dream project for any producer in Malluwood for a decade. Last time they joined together for Fazil's Harikrishnans which created waves in the box office. The latest buzz is that one lucky producer, none other than superstar Dileep has secured their dates to work together.
The unique project to be directed by veteran Joshi will announce the entry of AMMA into film making. The film will feature five top heroes and five heroines. Apart from Mammootty and Mohanlal, Suresh Gopi, Jayaram and Dileep will also figure in this mega project.
Udaya Krishna and Siby K Thomas, who are entrusted to create a script satisfying every stars has already been into this tiresome act. As all actors are acting for no remuneration in this film, the scriptwriters have to create one story that will get the positive nod from every stars.
Many believe that recreating Mahabharata is the only way to satisfy every stars as no other literature in the history satisfy the heroics of many protagonists.

Kirthichakra(Aran) captures the soldier's life': Major Rav

Former army man Major Ravi has roped in Malayalam superstar Mohanlal for his bilingual film " Kirthichakra ", based on a soldier's life and the joys, sorrows and comradeship army men share. The film is made in Tamil (Aran) and Malayalam and Ravi claims it will be an eye-opener for the audience. "Viewing Kirthichakra will be a unique experience. It is real. It is a true account of a soldier's experience, and not a synthetic war story moulded to suit the celluloid," Ravi told IANS about his prestigious directorial venture. Ravi says shooting the film in Kashmir and Afghanistan was a risky operation. "Our goal was to capture reality at its best, in places of actual action, within a span of 30 days. We accomplished this, braving the severest weather and real terrorist threats," said Ravi. Ravi is a war veteran himself and received the President's Gallantry Award in 1991 and 1992.Excerpts: Q: How did " Kirthichakra" actually happen? A: The army life was a treasure house of experience to me. There was a touching incident, which moved me beyond words. I scripted it four years ago hoping to make a movie based on it one day. It captures the true feelings, pains and joys of the soldiers and the wonderful comradeship they shared amongst themselves. Finally, after a long wait and a series of disappointments, when R.B. Choudhari, volunteered to finance the film and Mohanlal agreed to play lead role, I was absolutely thrilled. Also, Priyadarshan, who is a like a brother to me, gave me strong moral support. Q: From the barracks and battlefront, you have come to the make-believe world of dreams and aspirations. How was the migration?A: Cinema was in my heart even when I was in service. Fortunately, I acquired an excellent group of friends in the industry, which included Suresh Balaji, Priyadarshan, Santhosh Sivan, and Mohanlal (thanks to the film "Kalapani"). I was serving at Port Blair while "Kalapani" was being shot there. Hearing about my participation in heading the commandos operation in connection with Rajiv Gandhi's assassination, Mohanlal expressed his wish to meet me. He wanted to know about the Sivarasan episode in detail. He invited me for a chat and that marked the beginning of a beautiful relationship with the whole team. Later, after my retirement, Priyadarshan introduced me to the world of commercial advertisements. He accepted me as his assistant. And it was Santhosh Sivan who first took me into the world of cinema. His recommendation fetched me a consultant's job for movies on war. "Pukar" was my first assignment. Then followed "Terrorist", "Kannathil Muthamittal", "Maa Tujhe Salaam", "Main Hoon Na", and "Rang De Basanti". I also did a children's movie, "Punarjani", which was widely appreciated.Q: What is " Kirthichakra " about?A: It speaks about a beautiful bond between an officer and his subordinate and much more about the army life, and the soldiers' strong loyalty to the country. The story unfolds through fragments of a flashback about a major and his Havaldaar, brought alive by Mohanlal and Jeeva. The beauty of the 'buddy' relationship has been portrayed by them wonderfully. Q: Why did you opt for a bilingual film? A: I believe that soldiers are the same everywhere. Their stories or feelings have universality about it. I wanted them to reach out to as many as possible. Q: Did you have to compromise on the theme or treatment for commercial reasons?A: Not at all! My story was straight and simple. I had to shape it cinematically. That was all. I gave music a prominent role in the flashback. It is not thrust upon viewers, but woven into the scenes.Q: You were revisiting Kashmir on a new mission. How did you feel about it?A: It was great to go back to the barracks, even if it was to shoot with a camera! My colleagues were immensely happy to see me. They went out of the way to provide extra security to us, and this was touching. They were thrilled beyond words to have Mohanlal and other artistes with them. They thoroughly enjoyed correcting the body positions of the actors and training them to handle the arms (which were real and not dummy). We also had many of them acting in the movie, and this made it more realistic. Q: How was your shooting experience in Kashmir and Afghanistan? A: It was a highly risky operation. Eights bomb blasts took place near Dal Lake, which was only a few kilometres away from the location while the shooting was on! But, amazingly, not one member of the unit was deterred. The atmosphere was charged with excitement, and the whole unit worked with a fighting spirit, which truly matched a soldier's mental frame. The light men and the rest of the technical crew, who were the last to pack up, deserve special mention for their unbelievable grit and determination. In Afghanistan the fear and uncertainty were always felt. But the experience had the charm of an adventure.Q: Are you happy about the end product?A: Very much. The rest is left to the audience. Q: Have you planned your next film? A: Not exactly. But I want to make a very different film for children, with a good message and a happy ending. Many children told me that "Punarjani" was too sad a film for them.

Mohanlal makes a hatrick

With the reigning success of 'Rasathantram', Mohanlal has created a hatrick of Megahits. Three films that came in Three different festival seasons have raked in tons to create boxoffice glory. This winning run started from the dismal situation that the superstar faced with the total washout of his two films, 'Udayon' and 'Chandrotsavam' last year.

The last Onam season saw the roaring success of 'Naran' an action oriented family film by Joshy, that became the highest grosser of the season. The film ran more than 100 days in major centres.

The next to follow was 'Thanmatra' which was a slow starter. The film which became the favorite of many a critics, gradually gained substantial audience and ran in major centres till Vishu. The film is a competitor in many major sections, including best actor in the National Film Awards this year.

The film collected three times than its cost and completed 150 days run.The recent super hit 'Rasathantram' is also an evenpaced family film by Sathyan Anthikkad. The film is all sure to earn in tonnes as it holds a hundred percent audience even after 45 days.

The fans are eagerly waiting for his next release to know whether he can make better this winning records.

Mohanlal makes a hatrick

With the reigning success of 'Rasathantram', Mohanlal has created a hatrick of Megahits. Three films that came in Three different festival seasons have raked in tons to create boxoffice glory. This winning run started from the dismal situation that the superstar faced with the total washout of his two films, 'Udayon' and 'Chandrotsavam' last year.

The last Onam season saw the roaring success of 'Naran' an action oriented family film by Joshy, that became the highest grosser of the season. The film ran more than 100 days in major centres.

The next to follow was 'Thanmatra' which was a slow starter. The film which became the favorite of many a critics, gradually gained substantial audience and ran in major centres till Vishu. The film is a competitor in many major sections, including best actor in the National Film Awards this year.

The film collected three times than its cost and completed 150 days run.The recent super hit 'Rasathantram' is also an evenpaced family film by Sathyan Anthikkad. The film is all sure to earn in tonnes as it holds a hundred percent audience even after 45 days.

The fans are eagerly waiting for his next release to know whether he can make better this winning records.

'Vadakkumnathan' ready for release

'Vadakkumnathan' the Mohanlal starrer is all set for a release this week in the theatres of kerala. The film which was in the making for a couple of years was set away from getting released due to financial crisis and loss of support from the producer. The film which boasts of a very big starcast was one of the very eagerly awaited release for a few seasons. If all is going well the film will be released in 40 centres this week all around Kerala.

The film directed by Shajoon Karial was shot in many locales in North India . The music of the film , one of the last compositions of Late Raveendran was released last year and had became a rage in the minds of music buffs of the state. The film scripted by Gireesh Puthencherry is cinematographed by S Kumar. Mohanlal and the cinegoers have much interest in the film as it is made in the lines of a very different story line.

Top songs

"Mathapoo" from "Balram Vs Tharadas" continues to rule the charts

1. "Mathapoo" - Film: "Balram Vs Tharadas"; Music: Jassie Gift; Lyrics: Gireesh Puthencherry; Singers: Afsal, Rimy Tomy, Anwar and Jassie Gift. "Dance in the aisles", invites Jassie Gift, and the audiences oblige.

2. "Aattinkarayorathe" - Film: "Rasathantram"; Music: Ilayaraja; Lyrics: Gireesh Puthencherry; Singer: Manjari. Meera Jasmine's jig in this song has become talk of the town.

3. "Varavelkkumo" - Film: "Pachakuthira"; Music: Ilayaraja; Lyrics: Gireesh Puthencherry; Singers: Madhu Balakrishnan and Jyotsna. This is a staple romantic number, but Dileep's presence makes the difference.

4. "Thevaram Nokkunnunde" - Film: "Rasathantram"; Music: Ilayaraja; Lyrics: Gireesh Puthencherry; Singer: Vineeth Sreenivasan. The song establishes the happy-go-lucky character of the film.

5. "Oru Thottavadi" - Film: "Pachakuthira"; Music: Ilayaraja; Lyrics: Gireesh Puthencherry; Singers: Vijay Yesudas and Jyotsna. The foot-tapping number is still pulling audiences into the theatre.