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Yavanika (The Curtain)...is the search for the truth..the truth behind the curtain (as it always be..), slowly unfolds as the story progress in a rapid pace and finally splits wide to it's ... See full summary »
Pranchiyettan is a successful businessman who often has talks with an imaginary St. Francis of Assisi. The story deals with how he goes about changing his embarrassing image to making a name for himself using wealth and contacts.
Set in 1940s, the film is about the irrational bonding of the low-caste Ponthan Mada with his colonial landlord Sheema Thampuran, who was expelled to British India from England during his youth for supporting the Irish Republican Army. Crossing the class boundaries, the two communicate through Thampuran's window, with Mada hanging from a palm tree.
One fine morning, not any different from every other day, a promising poet shoots herself. Leaving no trace of motive, her husband's best friend and journalist, Balu embarks on a journey to find the truth.
I am a big fan of both your films. Especially Akkare. It is a cautionary tale for many greedy middle class Malayali folk who look at the Gulf nations as a place to make some quick money. Many lives and families have been destroyed in this blind pursuit of the Dinar. Your film is still very relevant with many more middle class Indians desperate to leave the anarchy of India for greener pastures. Money is the reason to be. This holds true for the relatively idyllic but scorched Kerala of 1984 and the cut throat Kerala of today.
I was impressed by the star cast which you assembled with Mammooty and Mohanlal playing supporting roles to Bharat Gopi's protagonist. Even Nedumudi Venu as an arrogant and sexually frustrated gulf returnee had more screen time than the two superstars of Malayalam cinema.
But it was the young and sensuous Rani Padmini who stole the show in my opinion. The scene where she seduces the reluctant Tehsildar (Gopi) was very erotic. You portrayed female sexuality so nakedly with Rani literally launching herself onto Gopi. The background score during this scene by none other than Johnson was overwhelming. The way you lit the poor household of the "thaiyalkaaran" (tailor), giving it an almost orange tinge was wonderful. I liked the way you framed the scene where Rani is tying her hair in the background and Gopi can see her while he talks to her lover (played by Sreeraman).
Bharat Gopi was effortlessly brilliant. He played the lower middle class loser without much fuss, using unaffected mannerisms and face expressions.
I am surprised you did not make more films.
Best Regards, Pimpin.
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