Calmness can either mean a state of contentment or one of profound numbness, borne of inner turmoil. MT Vasudevan Nair’s characters from Manorathangal resonate more with the latter definition of calmness. On the periphery, these characters are just individuals dwelling in the tranquillity of their environment, thriving in the warmth of their family. The scintillating stories of MT presents an inviting world juxtaposed with the complex psychology of the characters. Such intricacy does not seem to be translated well on the screen.
MT penned these stories in different years of his life. Although the emotions entwined in them unequivocally stood the test of time, the grammar of the visual execution does not sit well with current sensibilities. Lately, cinema has been trying to shake off years of conditioned class and caste normalcy off its shoulders.
At such a juncture, reintroducing a setting packed with the ‘upper-caste’ and ‘upper-class’ privileges seems like a step backwards. However, such depictions never hold any predominance in the larger context of the narratives in the anthology other than just providing a setting. It is the emotional upheavals that allow each of the leading characters from each of the films to look into themselves, thus stitching a purpose to the narratives.
Amidst the reimposing of a bygone era of Savarna people being addressed as Thampuran or Thampuratti, the relevance of this inner turmoil is what gives depth and complexity to the narratives. Manorathangal is more of an exploration of a character’s emotions. However, the anthology seems to have missed the mark in that regard.
Each film of Manorathangal starts with an introduction by Kamal Haasan, where he sets the stage for the upcoming story. He provides an overview of the plot without giving away too much, striking a delicate balance between what to reveal and what to keep hidden, all while sharing his personal insights. Starting with Priyadarshan’s Shilalikhitham (Inscriptions), the anthology comprises nine films, each with a run time of nearly 30 minutes to one hour.
Instead of conforming to his typical comedic style, director Priyandarshan delivers two films with distinctive visual aesthetics. In Shilalikhitham, Biju Menon’s character, Gopalan Kutty, comes to the realisation that he is unknowingly tied to a state of mind he has been trying to escape from. In the director’s second film, Olavum Theeravum, featuring Mohanlal and Durga Krishna, he reimagines the classic film of the same name.
While the former was harmless, the latter falls short due to an unimpressive performance from the cast and does not seem relevant to the times. Unfortunately, the emotional depth in the other films, such as Jayaraj’s Swargam Thurakkuna Samayam and Rathish Ambat’s Kadalkkaattu, falls short. The straightforward story about a father abandoned by his children and the theme of infidelity, fails to evoke the necessary emotional connection, leaving us without a strong sense of empathy for the characters.
Meanwhile, Vilpana, directed by Aswathy V Nair and starring Asif Ali and Madhoo, struggles to engage the audience due to its largely conversational nature, despite a touching resolution. Notably, Mahesh Narayanan’s Sherlock, Shyamaprasad’s Kazhcha, and Ranjith’s Kadugannawa Oru Yathra Kurippu stand out as best among the lot. Set in the United States, Sherlock features the amazing performances of Fahadh Faasil and Nadiya Moidu and introduces an eponymous character - a cat.
Sherlock breaks away from the typical visual style of Manorathangal, presenting a fresh and unique approach. The story effortlessly explores human emotions while juxtaposing a cat’s life as a metaphor. Along with the stellar performances, the impactful music adds depth to the film, making it thought-provoking entertainment.
Sherlock encourages introspection and reflection on humanity through the lens of an animal, while Kazhcha urges people to reflect on one another and embrace their true selves. Diverging from the typical feminist narrative, Kazhcha implies empowerment through the delicate yet powerful character of Sudha, portrayed by an effective Parvathy Thiruvothu.
Despite the few flaws, Manorathangal shines through the performances of its cast, along with captivating visuals. As the camera gracefully traverses through ancestral homes, green fields, deserted lanes, and cobblestone pavements, the warmth of the world depicted by MT’s words effortlessly envelops us. Just as a song in Manorathangal beautifully expresses, “Like a forgotten time, returning to me…”
Series: Manorathangal
Showrunner: Priyadarshan
Cast: Mohanlal, Mammootty, Fahadh Faasil, Parvathy Thiruvothu, Nadiya Moidu, Biju Menon, Indrajith Sukumaran, Asif Ali
Streamer: Zee 5
Rating : 2.5/5