It would take a really tough person to watch this movie in entirety and not be moved to tears. Its a simple story of a grandfather, how the arrival of his grandson and friends, turns a sleepy house into a fun filled one. The title of the movie means "on the third (day)". This is another one of the genius Padmarajan's work. Unfortunate incidents happen and how traumatic it can be for an elderly person forms the main the theme. The directors excellence lies in the fact that he took a story that can be told in a single line and made a tear jerker out of it, and boy what a job he did! Thilakan as the grandfather is thoroughly believable and you cannot help feel sympathy for the person. The songs of this movie are also enjoyable
7 Reviews
Capsule Review: Moonam Pakkam
nairtejas27 February 2018
There is a sense of apprehension in P Padmarajan's Moonam Pakkam that something bad is going to happen soon. Thilakan stars as a lovable grandfather to Jayaram's character who is the only one whom he can call family. Returning home after six years, the grandfather has a lot of things planned for his little boy, but fate has some other plans for him, as he finds out the hard way. The bond between a grandfather and his grandson, after the former losing his wife and his son at a young age is what Moonam Pakkam aspires to show, but more than that it becomes a dramatic picturisation of people who yearn for the presence and love of their immediate relatives. In one scene, Thilakan's character tells another that without his grandson, he would feel lonely in this world, and that feeling would be the worst. How little mistakes can turn your life upside down is also what writer-director P Padmarajan aims to show. However, the final one hour is an overlong montage created just to make you feel bad about what I mentioned in the first sentence. And it ends by giving the powerful message that one lives in this world not for himself but to love others. Thilakan is phenomenal as the grandfather and crowns as the best actor of the lot. Jayaram is a youngling here, who comes third only to the supremely talented Jagathy Sreekumar. The song "Unnarum Ee Gaanam" is a classic that I have been listening to since I was a child, and it brings back a lot of memories, including goosebumps when I try to relate the characters with my own life. Padmarajan does that to you often, as Moonam Pakkam manages to keep your eyes moist. A good watch. TN.
A great philosophical film about love and death
srsmith-2205626 September 2018
Great movies can be disturbing or even unpleasant to watch because the best directors will not hesitate to strip away the genteel facade of social restraint to show Life in its raw and essential state. This 1988 Malayalam language movie by the great writer-director Padmarajan is an unflinching meditation on love and death.
I am a native and resident of Kerala State, India, the home of this movie, and I was just 9 years old when it was released; I saw parts of it on TV as a youngster and vaguely knew it was about one central character's accidental death and the other central character's drastic reaction to this shattering event, but I had subconsciously avoided watching it properly till today, undeniably because of the grim and (for me) anxiety-inducing topic.
One might call it the Old Man and the Sea of Malayalam cinema. The finish leaves the viewer crushed with a profound sense of the futility of human emotions in the face of death inexorable, which the grandly ominous yet supremely indifferent sea represents. Since this movie is a tragedy, its implicit message might be read that Death defeats Love. Death takes centre stage here, but it is also about how an all-encompassing love can fail to survive its passing -- the narrow focus of modern love upon a very few number of closest family members is shown here to create that void, leaving a person without a sense of purpose, should the loved one perish.
I can give the full 10 full points for the sensitive, relatively subdued and brilliantly realistic portrayal of the protagonists' response to a dear one's shocking demise, without the crudely histrionic melodrama or exquisitely irritating sentimentality common to many Indian movies. All time great Malayalam actor Thilakan (whom I was privileged to meet in person when he was waiting for a flight in 2007) carries the film with a tremendously real, yet restrained, powerhouse performance as the bereaved protagonist.
Ultimately the movie's great strength lies in its choice and powerful treatment of death, a universal theme with resonance for every human being -- this could happen to you and yours, says the director, and thus harnesses our primal emotional responses to death and bereavement -- thus the cultural setting is rendered irrelevant and "Moonnaam Pakkam", which I hope someone could release with at least English subtitles, remains a great philosophical film that will stand with the best in world cinema forever.
I am a native and resident of Kerala State, India, the home of this movie, and I was just 9 years old when it was released; I saw parts of it on TV as a youngster and vaguely knew it was about one central character's accidental death and the other central character's drastic reaction to this shattering event, but I had subconsciously avoided watching it properly till today, undeniably because of the grim and (for me) anxiety-inducing topic.
One might call it the Old Man and the Sea of Malayalam cinema. The finish leaves the viewer crushed with a profound sense of the futility of human emotions in the face of death inexorable, which the grandly ominous yet supremely indifferent sea represents. Since this movie is a tragedy, its implicit message might be read that Death defeats Love. Death takes centre stage here, but it is also about how an all-encompassing love can fail to survive its passing -- the narrow focus of modern love upon a very few number of closest family members is shown here to create that void, leaving a person without a sense of purpose, should the loved one perish.
I can give the full 10 full points for the sensitive, relatively subdued and brilliantly realistic portrayal of the protagonists' response to a dear one's shocking demise, without the crudely histrionic melodrama or exquisitely irritating sentimentality common to many Indian movies. All time great Malayalam actor Thilakan (whom I was privileged to meet in person when he was waiting for a flight in 2007) carries the film with a tremendously real, yet restrained, powerhouse performance as the bereaved protagonist.
Ultimately the movie's great strength lies in its choice and powerful treatment of death, a universal theme with resonance for every human being -- this could happen to you and yours, says the director, and thus harnesses our primal emotional responses to death and bereavement -- thus the cultural setting is rendered irrelevant and "Moonnaam Pakkam", which I hope someone could release with at least English subtitles, remains a great philosophical film that will stand with the best in world cinema forever.
One of the most nostalgic films in Malayalam
zcraber17 June 2018
Moonnam Pakkam by Padmarajan is one my favourite nostalgic films I've watched so far. Everyone who loves their childhood days and moments couldn't watch this film without an enormous joy in their heart and tears filled in their eyes at the same time. Thilakan's character as Thampi is one of his career best. Padmarajan has well crafted the film from screenplay to the casting. There is nothing extraordinary in this film. But the way it enclose some special life moments makes it an invaluable contribution to the Malayalam film industry.
One of the best classical films ever
arun_mr2 January 2018
Padmarajan is a beautiful love story for the grandmother and grandchild.
Thilakan, who retired from the Indian Railways, has been aging in her family since her son's death. Bhaskar (Jayaram), known as Thachin's grandson Pacchu , is a graduate in Bangalore, who has been living with his friend Lopez (Rahman), Ranjith Menon (Ashokan) and Krishnankutty after six years of vacation. Their presence makes the family of Thambi happy. Pachchu's marriage with the grandson of Thampi's friend sticks and makes Thambi's belongings to the name of the singer. But in search of a girl who is bathing in the sea, she is busy. It is true that Thambi, who is expected to be back with a strong intent, is finding that Thachu's dead body was found in the third. When the pitch's final rituals are taking place, the Thambi rushes towards the sea with a strength.
Marvellous piece of work
gautamcool17 September 2021
I watched this movie for mastercrafter padmarajan..hardhitting movie with gut wrenching climax...couldnt come out of thus movie easily..thilakan just runs the show with his brilliant portrayal of thambi..a cool grandad who loves his family more than anything..his climax performace is easily one of the best...jayaram is excellent and makes us long for him..rahman and other cast were brilliant..music by johnson will haunt u...padmarajan never ceases to surprise me ,one of his finest work...miss him a lot..
Daunting.
plantorabox26 September 2020
Warning: Spoilers
The movie revolves around the tragedy that a doting grandfather( Thampi) is met with losing his only surviving descendent--his grandson (Bhaskar). The first half of the movie establishes the relationship dynamics of Thampi's family and his extended social circle. It glosses over the issue of estranged parents from their children, a motif seen in 'Prayanam' , Padmarajan's debut as screenwriter. The topic of fragmented families and their ramifications resonates even three decades later.
The turning point in the movie occurs with the untimely and unnatural death of Bhaskar who is whisked off away by the sea and drowned. As his family and friends anxiously wait for his body to be swept ashore by the tide on the third day of the mishap, we are pulled into their troubling emotional state. The abruptness of death is both shocking and disturbing. The wait for the corpse stretches out the agony of the close family and friends. It is so unsettling to realize that life can take unpredictable turns for the worse swiftly.
Tilakan puts forward a heart-wrenching performance that is unforgettable. Jayabharthi as Bhaskar's mother too moves us even though she shares very less screen time.
The turning point in the movie occurs with the untimely and unnatural death of Bhaskar who is whisked off away by the sea and drowned. As his family and friends anxiously wait for his body to be swept ashore by the tide on the third day of the mishap, we are pulled into their troubling emotional state. The abruptness of death is both shocking and disturbing. The wait for the corpse stretches out the agony of the close family and friends. It is so unsettling to realize that life can take unpredictable turns for the worse swiftly.
Tilakan puts forward a heart-wrenching performance that is unforgettable. Jayabharthi as Bhaskar's mother too moves us even though she shares very less screen time.
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