One gets an uncanny feeling when realising that two days before the release of Kunjamminis Hospital, a film featuring friendly ghosts, one of the brains behind another 'friendly ghost' film, Pappan Priyapetta Pappan, entered the pearly gates. But it's not just the spirit (no pun intended) of that Siddique-Lal film that Kunjamminis Hospital evokes. I also remembered Ayushkalam, My Dear Kuttichathan, and Sakshal Sreeman Chathunni, in addition to Casper the Ghost and the original Ayushkalam inspirations, Ghost and Heart Condition -- films that dealt with a supernatural presence, or deceased souls stuck in limbo that are looking for a key to move to the next.
Such stories usually are accompanied by feelings of melancholy, but the writers Abhayakumar and Anil Kurian demonstrate here a fine gift for finding humour in the morbid. There is a fair amount of mischief and menace from these ghosts, but save for one of them, you don't anticipate dark, chilling gestures.
Thankfully, they don't wear white or sing songs to scare. They sing (and dance) at one point, though, but only for the purpose of pacification. But I can't help but say that this instance, too, looks out of place. Perhaps the kids might be okay with it.
That brings me to my next point. You could look at Kunjamminis Hospital in two ways. One, through the lens of that child you once were. Two, through the eyes of a serious-minded moviegoer for whom nearly every aspect of filmmaking has to be ace. Since my job requires me to see a film through both lenses, considering how different genres demand an open mind, I'm going to tell you what aspects of it appealed, but only mildly, to me when keeping in mind the sensibilities or demographic that I think this movie wants to speak to; and what didn't. If the goal is mere time pass, then Kunjamminis may not do much damage. You could take your entire family, including kids, and take whatever positives you can from it. If you're looking for a story with much depth, you should look elsewhere.
However, the so-called serious-minded moviegoers in the same family might get put off by the film's theatrical and less polished aspects. Take the production design and colour palette, for example. If you expect realism in these departments, you won't find it. One oft-recurring thought I had while watching this film? Whether they recycled the same set in different places -- for the past and present portions. At least they could've changed the lights, no? Why is everyone bathed in orange? Why do some performances look like they belong in a stage drama?
That said, the film isn't without merits. There are some fresh ideas, especially with regard to the treatment of characters dealing with the afterlife and their interference with the real one and its after-effects. To avoid the risk of spilling spoilers, I've decided to refrain from revealing which of these actors are playing ghosts. As for the performances, there are some competent ones, most notably from Nyla Usha, Indrajith Sukumaran, Baburaj, and Prakash Raj.
Of course, I wouldn't say these are acting masterclasses, but they did decent work with the material they've had to navigate. And any script with a fair amount of superstitious and fantastical elements (the last-min inclusion of a precious stone with magical powers felt forced) will demand an actor to expend a certain degree of energy they don't have to do in a story about the living.
Indrajith is endearing as a potential-laden doctor looking for second chances. Baburaj seems to have so much fun playing a reformed thug. Nyla glows with grace and determination in a role that sees her occupied in a fair amount of, err, multitasking.
Director: Sanal Devan
Cast: Nyla Usha, Indrajith Sukumaran, Baburaj, Prakash Raj
Rating: 2.5/5 stars
(This story originally appeared on Cinema Express)