He and the hero (Dulquer Salmaan) start on the wrong foot but he already has his eyes fixed on the heroine (Sai Pallavi). He drives a lorry, fantasises about skimpily clad women and hides his wickedness behind a deceptively calm smile. There is something unnerving about Chakkara. Jayasurya looks the part in this pre-independence film set in Munnar, directed by Amal Neerad and brings in a controlled aggression. It’s an uneasy sight that sends a chill down the spine of even the otherwise unflappable Iyob (Lal). He begins slowly and gently makes his way up, but when that doesn’t work, the tone changes, and so does his smile. Rawther has a kind smile it’s his way of sizing up an opponent. A lot of credit must also go to Shammi Thilakan, who dubbed for Napoleon-the raw hatred and anger he brings to the character is enough to make us wary of him. They despise each other and don’t spare a chance to get the better of the other. Mangalasseri Neelakandan could not have asked for a better match than Mundakkal Shekaran. Ratheesh slips into bland suits, sly grins and sharp stares and it’s all extremely effective. He was the classic political kingpin who hobnobbed with the rich and powerful. Assistant Commissioner Bharath Chandran needed an adversary to match his wits and no one did it better than Mohan Thomas. Renji Panicker clearly built his antagonists on par with his heroes. One of the high points of Ekalavyan remains the verbal pow-wow between Madhavan IPS (Suresh Gopi) and Swami Amoorthananda. A lot of credit should go to Narendra Prasad who lent a wicked eccentricity to the character with his mannerisms and dialogue delivery. Renji Panicker was evidently inspired by Godman Chandraswami when he fashioned this character with long flowing robes, powder white beard and hands twisted around fat rudraksha beads. Mannadiar’s goodness blends perfectly with Haider’s villainy. Hyder is a smug, ruthless antagonist who kills without batting an eyelid and has the government officials shielding him. The former is doggedly after Marakkar’s life to seek revenge for killing his kin. In his younger days, he considered himself a stud - bedding any woman who caught his fancy. Finally, karma takes a hand when his own son decides to follow his footsteps.ĭhruvam has one of the most engaging battles between a hero and a villain - Narasimha Mannadiar and Hyder Marakkar. There is a dreadful scene where the ageing patriarch commands one of his men to be tied up along with the buffalo while paddling the rice field. A self-proclaimed feudal lord, he looks at those who work for him with contempt. Paleri Manickyam: Oru Pathira Kolapathakathinte Katha (2009) In that penultimate scene when Solomon looks helplessly at a distraught Sophie after he discovers her stepfather’s brutality, it’s hard to forget Paulokkaran’s sneer and that smugness on his face. He watches the Solomon-Sophie affair warily. He rarely smiles and is either gruff or drunk-the only time you see him ease his guard is when he’s with his own daughter. Every time he stares at his stepdaughter Sophie, you can almost read his mind. Paulokkaran evokes a mix of revulsion and fear. Each time Ayyappan comes on screen, the disgust he generates is unmistakable.
It’s difficult to take your eyes off the man when he is at it, drumming it with maniacal precision. Off it, Ayappan is an uncouth, bad-tempered womaniser and a wife-beater with no redeeming qualities. He never shows remorse, not even in death. When his scorned girlfriend squalls into his office and demands an explanation, Jayarajan looks unruffled, smiles calmly and convinces her that he will set everything right. He even fakes love to sleep with women, only to break their hearts in the end. He plans everything with clinical precision - belligerently stepping over people’s dreams to build his own. Jayarajan (Mohanlal) has come up the hard way, and is someone who thinks there is no greater power than money. He is a smiling assassin - a bit like George Mellis in Sidney Sheldon’s Master of the Game. Not only is he brazenly licentious (he molests Thommi’s wife with his knowledge) and cruel, he is also a murderer. The tone changes only when he comes to know of his wife- “Aval sundariyanoda?” (is she beautiful?) drawls the man in his South Canara dialect and you can see naked lust in his eyes. Based on Zachariah’s book Bhaskara Patelarum Ente Jeevithavum, Vidheyan’s leading man is despicable in every way.
Malayam movie industry name full#
At first, he is full of scorn, spitting on his face and pushing Thommi to the ground.
In the opening scene, an intoxicated Patelar is seen sitting on a chair in front of a hut as he sizes up the newly arrived slave Thommi.
0 kommentar(er)
