 A simple story, great performances, well fleshed out characters, play of emotions and technical finesse. Blessy bounces back with flare in his new film ‘Bhramaram’ which is indeed a worthy watch for all the connoisseurs of good, contentful cinema. A fine tribute by Blessy for his masters who taught him the techniques of painfully powerful cinema, ‘Bhramaram’ is indeed a breath of fresh air for those who had been brandedly taking all one liners built around Valluvanaadan slang, paddy fields, Tharavadu(ancestral family)and bonding of joint family systems in the name of good Mollywood movie.
The movie is built around Jose alias Shivan Kutty, who is roaming around in an auto around Coimbatore to locate an address, on the same day the city is shell shocked with multiple blasts. This man of mystery finally arrive at the apartment of his schoolmate Unni, now a busy, successful share broker who is having a happy life with his wife Latha and kids. The intruder remains in the flat for a couple of days making merry with the kids, but within days Unni and his closest friend Alex, are made to realise that the man in their flat have come with an agenda, an after math of an incident that happened long back in their lives. What follows is an intriguing, and engaging road movie made in the rarest of the turfs and backdrops seen on Mollywood cinema.
Blessy has successfully managed to build in the necessary tension and suspense around the lead character, which pushes the movie till the interval. And the second half is a real splendour with one of the best performances from the versatile star in Lal. He, with the help of fabulous frames and interesting dialogues, propel the movie toward the climax, which is a real stunner. The actor is used to such a perfect effect that one can really feel his pain, experiences his struggle and realise that there can be more than one such men out there in the world today. The only hiccups in the entire proceeding seems to be the flash back track in which the Bhoomika and the kid playing Lal's daughter fails to persevere the acting ease displayed by every others in the frame. Suresh Menon, playing Unni, deliver a candid natural performance without pushing for histrionics, and works the understated character perfectly. Lakshmi Gopalaswamy and Murali Krishnan also does their roles with elaan.
In the technical side, the movie remains as one of the best shot and edited movie in recent times. Cinematographer Ajayan Vincent and Blessy deserve the highest accolades for achieving this level of beauty in severely extreme conditions. The attention to details in terms of sets and costumes are also commendable. The editor also has done his part with well done effects, colour corrected frames and sharp cuts that maintains the suspense of the impressive and humanistic thread.The music and BG scores by Mohan Sithara adds to the tempo of the proceedings with the song “Annarakanna”-will make you hum to its tunes.
All in all, the movie is a must watch for all who love that good middle stream movies propagated in the eighties by Padmarajan, Bhrathan and co. And we are sure, the plight of no other movie protagonists could have haunted you like this, in recent times. Hats Off, Blessy for this deep, touching effort.
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