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Friday, July 10, 2009

Watch Online Madhya Venal Malayalam Movie Review Preview Cast Crew













Cast:
Manoj K. Jayan, Sweta Menon, Arun, Balachandran Chullikad, Irshad, Niveditha, Augustin, Sabitha Jayaraj

Music Director: M.J. Radhakrishnan

Cinematographer: Madhu Kaithapram

Madhu Kaithapram's Madhya Venal is set in a blistering midsummer with the sun blazing down obstinately on the hard baked earth. With the temperatures rising phenomenally with each passing day, it scorches down every remnant of life left, burning down green into grey and dreams into dust.

There is news for Comrade Kumaran (Manoj K Jayan) on a sweltering day, when he turns into a stunned onlooker all on a sudden, as a political ideology that had defined his very being, turns more acquiescent to accommodate materialism into its fold, pushing him out in the process. Devastated, he returns home to his wife, Sarojini (Shwetha Menon), who simply refuses to give up. Oblivious to the plight of her parents, or the shifting cultural and political scenario around her, Manuja (Nivedha) tolerantly waits for the clouds and the rains.

This is a new age story that is gritty enough to make no negotiations when it comes to staring at the truth in the eye. The reckless daughter who returns back home throwing up her arms in repentance has disappeared behind the curtains. There is simply no possibility for atonement here, since there are no regrets. All you would find is dissent welling up in the young girl's intolerant eyes, when she painfully explains for one last time, as to why there isn't a harm any more in making compromises for grabbing what you badly need. Left with no further options, the appalled mother listens. As the distress finally gives way to a sense of acceptance, she decides to breathe in a new life into her own soul and update her armory. To get across these dog days, she needs to replenish her cells, go all out and give it one last go.

Anil Mukhathala's script chalks out a few indicators of a postmillennial malady, and faithfully examines the dejection and desolation that have crept in, despite all the exuberance linked to progress and advancement. It's a biting reflection of the present day life in a country, that's striving hard to come to terms with the upheavals of alteration. However, the film is not for a moment, cynical nor is it fatalistic. It's a blade-to-the-heart film that's powerful and persuasive to the core.

Kumaran talks of the legacy of Kannur that smelt of beedi factories, budding newspapers and the blossoming of literacy and puts in a fantastic analogy between the party and tendu leaves of today - both rotting away with bugs biting into them. When Sarojini gets a glimpse of him weaving at the Charkha, she amusedly asks if the Communist has transformed into a Congress supporter. Its then that Kumaran reaffirms that there is no greater communism in the world than the one proclaimed by the man who decided that he wouldn't conceal his torso, until his fellow beings had the rights and means to do so.

Streaks of the striking Surdas bhajan 'Shyam Tori Murli', drift somewhere down the empty corridors, reminiscent of an age that had softly passed by. As Khadi undergoes a makeover into fashion wear, Sarojini sighs at the world around her that's busy changing its drapes. Admonishing her girl who's late to wake up, Sarojini murmurs that a girl needs to keep her eyes open even while asleep. This is an age where several questions don't have answers; they would remain questions for as long as the race remains.