pullipulikalum aattinkuttiyum
pullipulikalum aattinkuttiyum is a malayalam drama about a young man who falls in love with a dancer and has to contend with his troublemaking brothers and a local loan shark .
lal jose’s pullippulikalum aattinkuttiyum tackles social issues in kuttanad, through the tale of a hapless youth .
shobhana is just so great. i got so much more interested in this movie once she showed up. the beginning bit felt a tad “seen it! ”, with the all male household focused on practical matters, and the youngest son desperate to escape. reminded me of everything from hulchul (which, i know, is a malayalam remake and i should see the original) to pullipulikalum aattinkuttiyum .
pullippulikalum aattinkuttiyum, scripted by m. sindhuraj, is being produced under the banner of balcony 6 entertainments. cinematographer is s. kumar and the music director is vidyasagar. still photographer is momi .
so instead they go with the circling - the - wagons - in - the - face - of - opposition solution. randomly pulling up an antagonist from back in the tamil village who shows up to kidnap shobhana, getting jayaram to finally man up in order to rescue her (hey, this is also what happens at the end of pullipulikalum aattinkuttiyum !), and then of course his brothers dig in and fight along side him, because they may bully him a bit around the house, but that doesn’t mean anyone else can !
from kainakary in alappuzha district, the village of kuttamangalam is just a short boat ride away across the rain - lashed backwaters. the shooting of director lal jose’s pullippulikalum aattinkuttiyum, with kunchacko boban in the lead is progressing in this slice of paradise .
on a rainy sunday afternoon, the narrow footpath on the bank of the canal that leads to the backwaters is frenetic with activity. a procession led by a local politician marches on shouting slogans demanding access to fresh water for the natives. a moment later, the procession comes to an abrupt halt. the reason: a handcart pulled by harisree asokan carrying kunchacko boban barges into them .
as the crew wait for the light to shift, lal jose talks about the film. “kuttanad has undergone a definite transformation. it has changed from a primarily agrarian landscape verdant with paddy fields to a major tourist destination revolving around the backwaters. as a result local youth now dream of becoming tourist guides or chefs and drivers of houseboats that ply the backwaters, instead of toiling in the fields. this social dilemma is being dealt with in the movie through a light - hearted tale, ” says the director .
it unfolds through the tale of chakkattutharayil gopan (kunchacko boban) a. k. a. chakka gopan. he is the sole breadwinner of the family because his three older brothers (played by shiju, irshad and joju) are layabouts who are always up to no good. invariably, gopan becomes the scapegoat for his brothers’ misdemeanours .
lal jose explains the scene being shot: “gopan is lying on the handcart after one such attack and this, incidentally, is his first scene. ”
gopan is the manager of a houseboat and to attract tourists he approaches classical dancer kainakari jayasree (namitha pramod) for help. “jaysree agrees to perform for tourists until she gets the visa to the gulf, ” adds the director. gopan and jayasree share their dreams and the worries and eventually fall in love. meanwhile, gopan convinces his brothers to get married. “once they are hitched, the fiery trio become as docile as lambs and gopan finds himself having to be the fighter in the family, ” says lal jose .
up next is a close - up shot of kunchacko. the actor is clad in a t - shirt and jeans and sports a thick goatee and a moustache .
“i have lived in alappuzha for most of my life. i even have some relatives in this area. i come here at times, especially if there is some family function. i am also quite familiar with the backwaters and the operation of small boats, ” says the hero, with a smile .
“my character is a rustic at heart but he is desperately trying to mould himself to suit the new lifestyle that has hit kuttanad. he is very poor in english and what little he knows, he has learnt by heart. he has two friends to help him – cook suseelan (harisree asokan) and boat driver babu (subeesh), ” adds kunchacko .
harisree asokan too seems gung ho about the film. he says: “the characters are very realistic and each scene is so natural. even the comedy is genuine and earthy. ”
there is a sequence of moderate violence in which the hero fights with the chief villain on a boat. in this scene, kicks and punches are exchanged as both characters throw each about. in one moment, a bottle is smashed over the hero' s head by the villain, which results in a bloody cut to his forehead. later, both characters are seen with bloody marks on their faces .
the film also contains malayalam bad language (eg.' thendi') and a mild sex reference, alluding to a female character sleeping with a male character .
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the film tackles social issues in kuttanad, through the tale of a hapless youth .
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last year lal jose was on fire. diamond necklace & ayalum njanum thammil were terrific. this year his immanuel was fine. but after, what i absorbed the hype around this movie, it turns out he' s running out of ideas to make movies on. for pa is the run - of - the - mill drama concerning the heroes and villains of an island. talking about kunchako boban, boy he is glamorous. the supporting cast perform very well. but, the story they act upon is predictable as aesop' s fable because we have heard / read / watched the same theme somewhere over the years. not anywhere else but in malayalam cinema itself. for instance, sound thoma had a same setup. nothing new to chew on about the story. although the characters of three brothers provided us to laugh on. songs are fine, cinematography is good and overall quite a family entertainer. and it would be a shame if don' t mention that contrary to the fact, it only has a handful of comic scenes and thank heavens sooraj vanjaramoodu & harishri ashokan save the show. bottom line: worth an average, afternoon watch. 5 / 10 !
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erosnow has added so many more malayalam films! i got all excited, until i noticed that half of them don’t have subtitles. oh well. but at least meleparambil aanveedu did, so i was able to watch that !
i did like the contrast between the father and uncle and brothers being more or less contented to work in the fields all day and then bath in the private pool at night and not want anything more out of life, and our hero jayaram being desperate to escape to a good job with a company. it wasn’t necessarily saying that jayaram was “better” than them, but that he had a kind of spark in them that was just missing in the others .
but like i said, everything kind of shined up once shobhana appeared. which worked in a kind of meta way, showing how very dull and plain the life was back on the farm and how much a new person was needed to shake things up .
i also liked the contrast between shobhana being given everything by her father, but being trapped in her household, and jayaram being not miss - treated, but somewhat ignored and abused by his family, and also being trapped in a household. that, i think, is kind of what attracts her to him, that here is someone who has clearly escaped from his home (since he is a malayali in a tamil speaking area). and she is impressed by that, and inspired to escape from her own home where she is being smothered by kindness instead of neglect .
i just wrote about pokiri, and how nice it was that the danger of being a woman in india was neither brushed aside nor treated as unusual. it’s kind of the same here. yes, shobhana’s family is kind of overly protective, beating people up just for looking at her. but on the other hand, once she is in jayaram’s house with no clear male protector, she has to put up with a ton of unwanted attention with no real recourse to avoid it .
but it’s shobhana, so she can handle it! i like that she isn’t really scared off by all the attention, just sees it as kind of sweet. more “sweet” than i probably would find it !
this is my second movie with shobhana and jayaram as a couple (after innale), they have a nice chemistry, but also in both films, shobhana is allowed to take the lead in the romance, and the lead in protecting herself. jayaram is just sort of there, being nice and supportive and following her around. based on a sample size of 2, i really don’t want to make any sweeping conclusions, but is that kind of what jayaram is always like? more the nice kind guy than the aggressive hero? i’ve seen a whole bunch of shobhana movies now, and it does seem to be true that her characters are stronger and more aggressive than the usual heroine role. which makes a more passive character a good partner for her .
but it’s also frustrating because, as we see in this movie, there is a limit to what even the most aggressive female character can do for herself. it makes me wish that either the world were different, so shobhana characters could pick out the man they loved for themselves without worrying about family issues, or could go work for a living in a household without being treated as sexual objects; or that shobhana had slightly more aware and supportive partners, who would protect her from these threats. but that’s not going to happen, because if jayaram had just protected her from the beginning, it would be a totally different movie !
which brings me to the spoiler bit of the review. so, spoiler spoiler spoiler spoiler
jayaram manages to leave his house, with his bossy big brothers and father and uncle and poor complaining overworked mother, by getting a job with a transport company. only, before he can take a full management position, he has to travel to a branch office and work underneath another manager. the branch office is in tamil nadu (or at least, a tamil speaking area. i don’t want to make any assumptions). soon after he arrives, he makes friends with the local malayalam cafe owner, and learns all the local gossip, especially that the local big deal land owner has a beautiful daughter, who he dotes on and spoils, but also keeps under a tight rein, not allowing her out of his sight and sending his thugs to beat up anyone who so much as looks at her .
at a celebration in honor of her father’s birthday, to which all the locals are invited, jayaram sees shobhana for the first time, and is invited to sing a malayalam song to entertain them while shobhana dances. naturally, many glances are exchanged while she dances to his tune. after a remarkably few additional meetings and exchanges of glances, she arranges to sneak out and meet him at a temple and declare her love .
essentially, shobhana here is playing the “man” in the relationship. she is pursuing, she is proposing, she is even the one who arranges the bullock cart and comes to get him in his rooms the night they are supposed to elope. and jayaram is the “woman”, being hesitant, being flattered, resisting, and finally giving in .
but then they are caught, and i get all distracted thinking about panchayats. i mean, what the village is talking about here is an honor killing. do i want it to be treated as a terrible horrible unusual thing? because that would indicate that it is unusual, that panchayats aren’t called in to decide what to do when a grown woman of her own free will chooses to run off with a man everyday without anyone thinking twice about it. but on the other hand, does this normalize it too much? making the completely reasonable characters we have been watching for hours talk about it like an expected thing? i mean, the panchayat / shobhana’s father does eventually come to the right conclusion, that shobhana should be able to do whatever makes her happy. so really i shouldn’t waste too much time thinking about it .
this is also, i believe, where jayaram’s odd position as management - in - training comes into play. and being from so far away. if i was following this correctly, shobhana’s family might be slightly wealthier than jayaram’s, but it’s not exactly a “princess and a stable boy” situation. more like “princess and a duke who is doing an internship in the stable” situation. so their romance had a tinge of the forbidden, but now that the marriage is accomplished and done, it’s not exactly like she has thrown away her life, it’s reasonable for her parents to think she will go on to have a fairly comfortable married life in her husband’s home .
but that’s just because they don’t know her husband is a coward! a loveable coward, sure. even an honest one, he tells her right upfront what’s up, that he is afraid of his family and they won’t accept his marriage. but still a coward who is bullied into taking his new wife home with him, and then so scared he can’t bring himself to tell his family that she is his wife, and introduces her as the new maid instead .
there is a touch of the chupke chupke in this set up, a newly married couple who gets to share this little secret under the noses of their family. i’m thinking this is also a very specific fantasy? the beautiful maid living right in your house that you can flirt with ?
and it’s not like she is treated that poorly. jayaram’s mother is a sweetheart and doesn’t make her work too hard, is even persuaded to give her a nice big room on the ground floor. the boys all get crushes on her, which she seems to find enjoyable and funny instead of threatening. and really, she is doing exactly what she would be doing anyway as the new daughter - in - law of the house .
well, except for having sex. which is why it is such a problem when they find out she is pregnant! and again, love sucks for women! she is in huge trouble, and it is assumed that one of the boys got her pregnant, but there is no discussion of marriage or taking responsibility or anything like that! no, the solution is to send her away as quickly as possible. i mean, it’s not like they are throwing her out on the streets, they want to send her back to her family, but they also aren’t talking about taking responsibility for the kid !
and this whole thing is never quite resolved! i think because the scriptwriters realized they had written themselves into a corner. either jayaram’s family really is terrifying and would never accept the marriage, or they get over it after a little conversation and jayaram is a coward and this whole thing could be avoided. they have been steering into “truly terrifying” this whole time, but then if that is actually true, this wouldn’t exactly end up as a comedy .
( my favorite example of this trope. which is pretty contrived here too, what would shahrukh have done if a bunch of eve - teasers hadn’t just happened to show up at just the right time? or did he just assume that since it was india, an eve - teaser would always be available? )
and then i guess you could say that the battle unites them more closely, and gives jayaram enough bravery to tell his family the truth, and when shobhana’s father arrives right in the middle of this tricky moment, the suggestion that jayaram’s family isn’t “good enough” for his daughter is enough to unite everyone again, and lovingly welcome shobhana into the family once and for all? but, really, you have to make several large leaps to get here. it’s not exactly a moment of “ah yes, the subtle character notes that have been playing out all along pay off, i could see these changes and moods coming a mile away! ” it’s more a moment of “gee willikers, we have to finish this movie somehow and we’ve written ourselves into a corner! let’s put in a fight, and everyone arriving at the same time, and then a big happy family moment! ”
the pregnancy, by the way, does feel like a “ah yes, the subtle character notes…. ” kind of thing. there was a big deal about when they finally had sex, way back when they first got together jayaram said something about “after we have kids, they will forgive us” (or maybe it was implied, anyway it was in my mind), and a young bride getting pregnant is kind of a normal thing to happen. but instead of going with that, having jayaram be inspired by his impending fatherhood into finally taking responsibility for his family, or shobhana being scared by her condition into wanting to go back to her father, or something else that could kind of naturally arise out of the situation, they went with this elaborate series of coincidences .
oh well, it was kind of that sort of movie all along! a nice fun funny comedy of errors, with a classic shakespearean kind of mistaken identity and masquerades kind of plot. makes sense to end with a classic shakespearean confluence of events and characters .
glad someone shares my fondness for shobana and jayaram’s onscreen jodi! she’s probably best known for her pairing with mohanlal in malayalam but they tend to be similarly scene stealing performers. jayaram is always happy to play the straight man to shobana. i hope you eventually track down aramana veedum anjoorekkarum with subtitles. her character is really independent and drives the plot that jayaram’s character basically goes along with .
i would always rather let shobhana shine and take control, than fight for scenes with mohanlal! i mean, this movie had a pretty similar plot to thenmavin kombathu, but in that we only spent a little bit of time on shobhana surviving in the house, and a ton of time on mohanlal trying to figure out the situation. whereas in this one, jayaram just sort of went off to work and shobhana ran her own plot for much of the second half .
meleparambil aanveedu is a pretty sweet nostalgic 90s movie with nothing substantial to bite on. as for the panchayat and the honor aspect, it’s meant to contrast the tamil conservative way of handling an eloping couple (rural tamil nadu is very very conservative and honor killing is still considered as a viable option with some) with the malayalee way of handling them (which is pretty much ignore the couple and let them go their way .) the malayalee parents usually accept the new marriage once the babies start coming. which is why jayaram is so confident that his family would accept them once they had a baby .
jayaram is usually cast as that nice beta hero who supports his wife / gf. but he has his share of alpha bore roles where he intimidates his wife (eg: veruthe oru bharya). but the great thing about malayalam movies is that the popular actors don’t mind doing a minor role or cameo and letting the heroine shine. i know salman used to do that, but i can’t name anybody else from bollywood .
okay, that panchayat explanation made sense. why jayaram was kind of casual about eloping, so long as they didn’t get caught before they left the village .
i was wracking my brain trying to think of some actor who did a minor role in a heroine backed film in the hindi industry, and then i remembered “oh right, dear zindagi is coming out in a couple months! ” so, there’s at least one! !! although i think that might be more of a sign that shahrukh is downshifting his career than anything else .
you should watch godfather malayalam; it is available on hotstar. then, you will see how the original is 100 times better than hulchul even with akshay khanna rolling his eyes at kareena kapoor! lol
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pullipulikalum aattinkuttiyum ( english : leopards and a lamb ) is a 2013 malayalam comedy film directed by lal jose . it has kunchacko boban and namitha pramod in lead roles . pullippulikalum aattinkuttiyum , scripted by m. sindhuraj , was produced under the banner of balcony 6 entertainments . the cinematographer is s. kumar and the music director is vidyasagar . the film tackles social issues in kuttanad , through the tale of a hapless youth . pullipulikalum aattinkuttiyum is regarded as the best comedy entertainer of 2013 . 
pullipulikalum aattinkuttiyum (english: leopards and a lamb) is a 2013 malayalam comedy film directed by lal jose. it has kunchacko boban and namitha pramod in lead roles. pullippulikalum aattinkuttiyum, scripted by m. sindhuraj, was produced under the banner of balcony 6 entertainments. the cinematographer is s. kumar and the music director is vidyasagar. the film tackles social issues in kuttanad, through the tale of a hapless youth. pullipulikalum aattinkuttiyum is regarded as the best comedy entertainer of 2013.
pullipulikalum aattinkuttiyum (english: leopards and a lamb) is a 2013 malayalam comedy film directed by lal jose. it has kunchacko boban and namitha pramod in lead roles. pullippulikalum aattinkuttiyum, scripted by m. sindhuraj, was produced under the banner of balcony 6 entertainments. the cinematographer is s. kumar and the music director is vidyasagar. the film tackles social issues in kuttanad, through the tale of a hapless youth. pullipulikalum aattinkuttiyum is regarded as the best comedy entertainer of 2013.