Bhoomimalayalam , the latest film by renowned film-maker T V Chandran, exposes his ideological weaknesses, confounded with confusion, and his inconsistency in creatively addressing imbalances of a highly volatile social existence.
And one can't help thinking: It is time Chandran made a break with his commercial inhibitions. Bhoomimalayalam is simply scattered. If Chandran thinks that his combination of political, social and individual crises, mixed with feudalism and communism, is something which has a realistic relevance to the common man, he is certainly mistaken.
What seems most arrogant on his part was the depiction of a television reporter, who happened to be a Muslim woman, in an absurd role around her Muslim husband, a young man who was lured by her charm, into her official and family circles.
It is a job poorly done by Chandran. It is, again, pitiful to see a modern professional Muslim woman depicted in such a weak situation, allowing herself to be used amid sentiments and a routine life’s constraints. Shame on Chandran and his concept of working women, whether Muslim, Christian or Hindu.
When it comes to conventional aspects, Bhoomimalayalam resorts to the age-old concept of weak women who depend on men, weaving their world around those whom they find quite comfortable for the time-being. A political murder cannot be as personalised as it is in Bhoomimalayalam unless one comfortably disowns one's political and social identity in the pre and post communist era in Kerala.
The selection of characters is absurd. The acting of most of the main characters is artificial, the visual content poor. There is no enthusiasm in the audience as Chandran fails to thrill. And there is anarchy between visuals and technical support. Bhoomimalayalam is probably the most disappointing film made by him.
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