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How did you come from heaven, Lucifer, son of the morning! How are you reduced to the ground, which weakens the nations! – Isaiah 14:12.
Lucifer is an ambivalent character in mythology. He is the "morning son" or "morning star" and also the evil and dark who realizes his satanic plans through kings and earthly rulers. The Malayalam film recently released by Prithviraj Sukumaran Lucifer further complicates it by citing other mythological currents and comparing its protagonist to characters like Mahiravana and Iblis. The film displays too many subtextual lures in the form of quotes, clippings, textual references, visual motifs, factoids and symbols.
But this plethora of references has no chance of resonance. There is never a moment of respite that can let anything flow. The references are only additions to the monotheistic vision of the film that pays tribute to the one and only god Mohanlal.
As a result, Murali Gopy's scenario seems to be a mix of a lot of random things, genres, and local and global, mythical and factual formats. The drama-family thriller-political-film-melodrama of action chooses themes, tropes, motifs from many sources and backgrounds to create a strange beer where the only recognizable element is adulation from a fan of the vintage Mohanlal. It is the Mohanlal of yore, both the man next door and a superhuman lover, vulnerable and vengeful brutal, an erased hero and an omnipotent hero.
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Faithful to the lineage of his star character, in Lucifer too, Mohanlal has many faces and phases: he is Stephen Nedumpally, aka Esthapan aka Lucifer, aka Khureshi Ab & # 39; ram. It is an orphan (who always has enough clues about a noble lineage), who is adopted by the titan of the leader then raised and mentored by a good-hearted priest who runs an orphanage (an apparition of the director Fazil).
Stephen is part of the family of a revered leader ("Kerala Bhishma's Politician"), but he is an outsider in his adoptive family. He is a mysterious politician at home, while outside, it is an international gift that has dubious links with, among others, the Illuminati.
Even amidst his global missions, Stephen finds the time to spend time with his children at the orphanage. He mercilessly decimates mafia drug gangs around the world with state-of-the-art weapons, but also fights with local henchmen and shows flexibility to the local police.
Taken between many worlds, one does not know where he comes from or where he is related, but in all worlds he is king and sovereign. What else could a Mohanlal fan be hoping for? Especially when the film itself is written and directed by two superstar fans?
The adulation of the director is also found in the story. Prithviraj Sukumaran plays the mysterious warrior Zayid Masud, listening to Lucifer, always ready to protect his life and execute his orders.
Over the last decade, one of the main efforts of the new generation of filmmakers in Malayalam has been to make superstars redundant Lucifer looks like a desperate attempt to renovate the temple and to put the icons back in its place.
The film begins with a map indicating that 75% of the money injected into Indian politics comes from dubious sources. An Interpol agent in France has identified one of the lynchpins, Khureshi Ab & # 39; ram, a narrative that describes Kerala and the occasion of the disappearance of a veteran political leader. The film is a series of events triggered by this death in the family and within the party.
Lucifer is composed of at least four concentric circles, the first and the innermost being that of the veteran leader's family. PK Ramdas (Sachin Khedekar), his daughter and his family (his second husband, Bimal Nair, aka Bobby, played by Vivek Anand Oberoi and Jhanvi, his daughter of the previous marriage). PKR has a son, Jathin (Tovino Thomas), who is abroad.
The second circle is the PKR party, the Indian Union Front, with its huge, astute, ambitious leaders such as Mahesha Varma, and the equally crafty opposition party represented by Medayil Rajan. The third circle, which includes the two interiors, is the drug mafia operating at the national level and headquartered in Mumbai. They see Kerala as a lucrative platform for drugs by funding local political parties and developing policies.
The fourth and largest circle is that of the global drug mafia and the war fought against it by Khureshi Ab 'ram, who dominates gangs connected to the world and trains mercenaries armed with weapons sophisticated and blessings of the Illuminati.
It is interesting to note that Prithviraj Sukumaran was the only actor to have set the tone in Malayalam.
There are some symbolic examples, such as the daughter of PKR (played by Manju), and openly expressing her solidarity with the actress badaulted two years ago. Warrier) lighting her father's funeral pyre and another moving moment when she is shocked to learn from her daughter the badual advances of her husband. But for these two extraordinary moments – one ritual and the other of abuse – women play no important role Lucifer who speaks of idealism and macho dreams , patriarchal commitment, responsibility and revenge.
The only other significant woman The woman at the orphanage has a direct impact on Stephen's life and projects. She makes false allegations of badual abuse on Stephen's part, which ultimately leads to her arrest. She confesses that this was part of a larger conspiracy against Stephen. Using the charge of badual abuse as a forgery and as an act of conspiracy is a bad answer to the rise of women's power in the Malayalam film industry and to the wave Me Too at the movies in the whole world.
As in the industry, what is at stake in the film, it is the reputation of the hero, falsely and conspired by a woman, but also a beneficiary of his charity. The only other scene in which women take center stage is the cliché dance that happily celebrates male voyeurism
The previous film, written by Murali Gopy, Kammara Sambhavam was a satire film about politics, about how history is created by the selective memory of the people and manipulated by the media. "The story is a set of agreed lies," announces the film immediately, citing Napoleon Bonaparte.
If Gopy Kammara Sambhavam in Lucifer, disseminated in history, it is politics that is under attack. Politics is nothing but the most powerful. When history and politics are thus discredited, the world and its affairs are liberated from their collective memories and social processes, and everything is held together and explained by conspiracies at all levels – that of the family, the society, the party and the political system – all of which are run by questionable criminal organizations, drug and drug networks. other ma fias and mysterious cults like Illuminati. It's a desolate despair landscape where only power breathes.
The political intrigues within Lucifer are not without angularities. It is no coincidence that the two political parties – previously represented by PKR and now by Mahesh Varma and Medayil Rajan on the other side – are shamelessly resembling the two main political parties in Kerala. This dual connection between power and crime, even if it mixes all sorts of elements and makes very clear badociations and parallels with Kerala politics, contains no reference to the other major player in the field – the communal politics, his party and politicians. This Third Force is carefully and safely kept out of this quagmire of corruption, moral decay, and unscrupulous power. The political message that emerges by putting the other two points of the foreground triangle in the foreground is obvious and strong.
In the end, Lucifer's intervention undermines all the local wrongs in all the lower circles that he leaves behind Bimal Nair, the villain in the otherwise virgin family who is destined to to rule the earth, is eliminated, the true successor is brought back to claim the mantle, the injured girl is forced to become aware of her mistakes and to repent. The IUF party is cleansed and the opposition is put in its place. The national drug mafia related to relations with Russia and their local links are liquidated.
"When you hit a king, you have to kill him," he says Ralph Waldo Emerson, quoted in another sentence of the film, seems to overturn Emerson's sentiment: "When you worship a king, you must do it. a God."
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