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Casting: Mammootty, Jai, Nedumudi Come, Anusree, Vijayaraghavan, Salim Kumar, Siddique, Jagapathi Babu, Aju Varghese, Sunny Leone, Suraj Venjaramoodu, Shamna Kasim, Shamna Kasim, Santhosh Kehakhr Vysakh [19659002] Language: Malayalam, Tamil and English
Nearly ten years have pbaded since Mammootty's hero Pokkiri Raja crossed the big screen expressing the chorus, "Raja is doing what 39 he says he's going to do, and only says what he can and will do. " Like most of the macho heroes of this kind of Indian commercial cinema, he also had a song that said, "He speaks English, he speaks Tamil, but Malayalam is his mother tongue," underscoring the insolent insistence of his mother. character to spring up shredded English and adoloscence pbaded to Madurai allowing him to express fluently in Tamil.
The man, his mantra and his song come back this week in the new version of director Vysakh, Madhuraraja, this time with Mammootty. In the years that followed Pokkiri Raja Vysakh endowed the Malayalam cinema with an even bigger blockbuster, the Mohanlal-starrer Pulimurugan. Madhuraraja is written by Udaykrishna, writer of Pulimurugan who was a half of the team that wrote Pokkiri Raja .
A still from Madhuraraja. YouTube
The press learned that Madhuraraja was not a sequel to Pokkiri Raja but that is the case
The action took place unfolds here on the island of Pambinthuruthu in Kerala. , where the mandate of the VR Nadeshan criminal businessman is considerable. For about a quarter of a century, Nadeshan (Jagapathi Babu) has caused many deaths with the fake liquor that he manufactures. He remains out of the law because of his relations with the government and the police.
Madurai Raja's father, Madhavan teacher (Nedumudi Venu), is sent to Pambinthuruthu to investigate a complaint that unruly customers of a bar owned by Nadeshan are creating havoc with a school local next. Obviously, there is a clash between the holy old man and the wicked, and of course that forces Raja to pbad.
Bounces ensue, but for the most part, the plot is not particularly extraordinary. What helps the film to pbad through all the same, is the energy of Mammootty, his flawless enthusiasm for this idiotic role and this meticulous screenplay, as well as a choreography of his own. thrilling and chilling action of Peter Hein.
Every time Raja enters the scene, the camera goes down and the volume of the soundtrack goes up to the sky. This cliched method of establishing the supremacy of the male protagonist over everything he observed was unbearable in the recent publications Mikhael and Lucifer but it is less painful in Madhuraraja because the megastar and the film both give the impression that they do not take themselves too seriously.
In addition, the sequences featuring a group of ferocious dogs belonging to Nadeshan are so well conceptualized, so well filmed and so well edited that no one would guess Mollywood's works. with a fraction of the budget available for the average Hollywood film. Dogs are hungry for human flesh and Vysakh uses their voracious power to create a terrifying effect.
This does not mean that Madhuraraja is otherwise widely excused or that his stereotyped representation of masculinity is excused. ] As is usually the case with Vysakh's work, women here are only side lights in the men's world. The film staged a joke about the occasional rape of Aju Varghese's character, some of whom evoke feminism. A man who tries to deceive a young woman by giving him a mouth-to-mouth resuscitation is done shortly after accusing another man of getting his hands on the same woman – as is the case in the Most Indian commercial cinemas of this type, the message is this: It is clear that the woman who has been designated as the property of a hero (or in this case, the second role played by Jai) is a game just for him but will be protected from others by him.
Like Mera Naam Shaji last week, this one also makes hers on the vanitha mathal of Kerala (wall of women), the huge human chain formed by the women in the state earlier this year, as a symbolic show of solidarity in their fight against discrimination. For good measure, in a pbadage involving Sunny Leone, the film also blurs the waters around #MeToo by suggesting that willing women take out the slogan for their convenience. The two potions reflect the extreme resentment of feminism expressed in real life by the men of this patriarchal film industry, particularly since the creation of the Women In Cinema Collective in Kerala in 2017.
The significant difference between Madhuraraja and 2016 Kasaba is that in the latter, the character of Mammootty was himself the provider of misogyny that dominated the scenario. In Madhuraraja, he is a benevolent patriarch, but he does not spit venom against women and does not mistreat them. The cases described in the two preceding paragraphs are all fugitive. The fact that even this counts as a progress is a measure of the thinness of the choices and the seriousness of the scenario on this front in traditional Malayalam cinema.
Contrary to his attitude towards the genre, Madhuraraja seems fluid with regard to party politics. A Raja phrase on the void left in Tamil Nadu by Jayalalithaa's death would suggest a particular party affiliation, but the hypothesis is later contradicted in the film by a protest against political leaders who are building gigantic statues for divert the attention of the electorate from genuine
The battle between Madhuraraja between political opponents is nice, as does the work of DoP Shaji Kumar on the picturesque Pambinthuruthu. I particularly enjoyed this moment in the first moments where a sketch of the island accompanying the credits becomes an aerial shot of the place. Lovely.
Gopi Sundar's songs are moderately effective – Leone's highly fashionable dance number is more pleasing to the eye (thanks to Joseph Nellickal's production design) than the ears. This lavish piece is one of the film's many visually rich elements, though none is as memorable or as haunted as Nadeshan's hiding place on the water's edge where he keeps his pets.
Nedumudi Venu, Vijayaraghavan, Siddique and Suraj Venjaramoodu take over here their roles as Pokkiri Raja . (Their back stories remain the same except in the case of Krishnan Nair of Vijayaraghavan, whose lameness is attributed to a different cause of inter-clan violence cited in Pokkiri Raja .) Each of these men makes a brief appearance in Madhuraraja, no particular challenge is proposed to them, and none of their performances therefore deserve to be praised.
The Tamil actor Jai plays Raja's adoptive brother – he has a long but lacking charisma to remove him. in the same way that Prithviraj Sukumaran managed to make his mark by sharing the space with a giant of the previous film in the previous film.
The women are all remarkable in innocuous roles, and this includes Anusree whose character, Vasanthi, gets a lot of time on the screen but is written in
To be fair to the rest of the cast, the Most of Madhuraraja's resources are focused on Mammootty and the ugly Jagapathi Babu who has been intimidating and edgy forever.
Since a potentially as refined actor as Mammootty seems to have decided that fun projects for mbad-mounted mbadive canvas are the way forward for him, on a relative scale, this one is better than most movies that he proposes. has done for a long time. He and the novelty of these bloodthirsty beasts help in one way or another to Madhuraraja to get through.
The film is rather young, if you think about it – I mean, it's mooooon, the interval is announced with the words "the real game begins: intermission" – but the saving grace is that he is not pretentious. He knows what it is about and does not require us to see him more.
Borrow and play on the words of the protagonist: Madhuraraja does what he is supposed to do and says only what he can and will do.
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Publication Date: 13 Apr 2019 09:38
| Date updated: April 13, 2019 to 09h49->
Date Updated: April 13, 2019 09:49:02 IST
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