Skip to main content

Natholi oru cheriya meenalla (Malayalam)

Natholi oru cheriya meenalla is a 2013 Malayalam film written by Shankar Ramakrishnan and directed by V. K. Prakash. Among the people I know, very few enjoyed the film. The general opinion is quite negative. IMDB rating is just 5.5/10. However, I loved the film. I have already watched the film 4 or 5 times. People are surprised by the fact that I loved the film. They often ask "How could you like it so much?". This is my answer!

There are spoilers ahead. So, those who have not watched the film and hate knowing the story, please come back after you have watched the film. But, I would say, don't worry too much. In my opinion, knowing the story is not going to make the movie less enjoyable. In fact, I hope, my article will help you enjoy the film better. I also promise that I will reveal as little as possible.

The movie is about Preman (Fahad Fazil) who is an aspiring writer. However, he becomes a caretaker in an apartment to meet daily needs. He develops hatred towards the residents after various incidents, but he has no way to retaliate. He chooses to take revenge through his story.

This basic plot in itself is amazing in my opinion. In life, we can seldom retaliate the way we want. We can only get back in our imagination. And, a writer has no dearth of imagination. He can let it go wild.

Thus, Preman makes residents of the apartment characters of his story. In the story, he dictates the destiny of the characters. He showers misfortune on all those he dislikes. And, he finds great joy in it.

Soon things start to get even more interesting. When Preman is not writing, the story proceeds on its own, as if the characters were alive. Around the same time, we can see an interview in Preman's TV, in which P. Balachandran says "An author creates a character, but later the character starts governing him". This is the theme of the second half of the movie. I found it interesting that, in the introductory scene inspired by the famous parrot-shooting scene from Mahabharatha, P. Balachandran also plays the role of Dronacharya while Fahad plays the role of Arjuna. At various parts, he comes and gives suggestions to Preman. So, he is Preman's mentor. I am not sure if this was intentional, but I felt this increased the importance of the stray dialogue in the background.

I thought about this idea of the character governing the author. Perhaps, the phenomenon can be explained as follows. Once we define certain traits of a character in certain scenes, consistency forces the character to behave the same way in future. Some amount of discrepancies are fine as it is common to find inconsistencies in human beings. However, gross discrepancies would make it unrealistic and uninteresting. So the author is shackled by himself. Once the story is published and accepted by the readers, they start sharing some power over the character. The burden of their expectations is placed on the character and the author. So, the freedom of the author in future publications is restricted. This, I felt, can be another sense in which a character governs the author. I invite you to share your thoughts on how a character might govern the author.

Anyway, getting back to the story, to Preman's displeasure, the characters behave in ways he does not want them to behave. Angered by this disobedience, he forcefully changes the story so that the outcomes favour him. This too was very interesting to me. In many stories we hear or read or watch we see such forced outcomes. I felt this is a plausible explanation for that phenomenon.

The rest of the movie is about the characters and the author(Preman) resolving their conflicts and coming to an understanding. There are some nice insights about the psychology of Preman in this part. Overall I found the movie extremely wacky and thought provoking. I would highly recommend it. Those who have watched it already, consider giving it a second chance.

Poster from IMDB


Popular posts from this blog

Naruto; the saddest death

For me, the saddest death in Naruto, is undoubtedly, Yashamaru's death. Let me say a few words about why I think so. For me death by itself is not sad. I would in fact say that death is a blessing for the one who is dying. It is sad for those who are left behind. From that perspective I think Yashamaru's death is the saddest. Yashamaru was the only comforting figure in the life of Gaara. The moment it is revealed that the assassin who tried to kill him was that same Yashamaru was heart breaking. The way Gaara cries "Yashamaru.." still resonates in my mind. Loneliness is one of the central themes of the anime. And, that scene captures it so magnificently. One of the most touching moments in the anime. There are several other deaths for which I shed a lot of tears. Like the deaths of Haku or Zabuza or Jiraiya or Obito. But they truly shine through their deaths. As Jiraiya himself says "The true measure of a shinobi is not how he lives but how h

Kumbalangi nights

I was not impressed by Kumbalangi nights.  I don't mean to say it is a bad film.  It is certainly worth watching.  The cinematography is extraordinary.  Also, it has its moments - nice little dialogues.  But with all that, it is just an average film, or so I feel.  As I had explained in a post before , people expect explanations when you express dislike.  Actually, I wouldn't say I dislike, but I did not like it as much as others - the people I talked to.  And, in this case, I think I understand some of the reasons.  And I will be sharing those reasons with you. What do you feel when you hear someone saying "These impoverished people are so lucky.  Wish I had a skinny body like them"?  Movies like Kumbalangi nights elicit the same emotion in me.  The major problem poor people face is lack of money.  If you make a movie on the poor and completely take money out of the equation, that makes no sense.  Kumbalangi nights does precisely that.  Not even once had they show

Android Kunjappan Ver 5.25

Android Kunjappan is a movie about loneliness at old age, but with many twists.  The movie is the story of Bhaskara Poduval and his loving son Subrahmanian (Chuppan).  Chuppan being educated and ambitious find it difficult to lead his life in rural Kerala.  Bhaskara Poduval, on the other hand, does not want to leave his home town.  Upon getting a lucrative job in a Japanese company, Chuppan leaves to Russia.  Initially, Chuppan appoints a couple of home nurses (one after the other) to take care of his father.  But, they all end up being comic disasters.  Finally, he brings a trial robot made by his company to take care of his father.  The rest of the movie is a story of companionship between man and machine.        Generally, in movies, the suffering of the elderly is caused by children who are complete jerks.  Such people certainly exist and it is worthwhile to portray their story.  However, it is important to realise, that often the elderly feel left out even under the care of wel