vishnu_s_prasad
Joined Oct 2006
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A retired Supreme Court judge Vishwanathan (Madhu) returns home to Kerala to hear the mortifying news that one of his grandsons Arun (Indrajith) is accused of murdering a classmate in a medical college in Bangalore.
Suresh Gopi plays the investigating officer pitted against the defense counsel Mammootty (who had incidentally qualified to be a lawyer in real life).
The third side of the tale's triangle is provided by feudal scion Themmady (meaning rowdy) Devan Pratapa Varma (Mohanlal).
The events lead to a climax that can be guessed by virtually everyone in the audience.
Mohanlal has the easiest time since he plays the cantankerous character with the same verve depicted by him in similar roles in countless films.
Having seen Mammootty in several movies as a lawyer, the role itself doesn't come as a surprise. But, the twists in the tale do the job more than adequately as the star essays his part with skillful, underplayed aplomb.
Suresh Gopi as the no-nonsense cop (another role from the star's checkered track record) suits him to the hilt, aided by the script's chiselled dialogue that accentuates his presence.
There are enough nerve-racking thrills in the narration as each star tries to outwit the other and the narrative provides the audience enough opportunity to go gaga over their icons.
Joshi had earlier cast Mammootty and Mohanlal in offbeat murder mystery "Number 20 Madras Mail" in 1990 with almost equal opportunities.
The only flaw of "Twenty 20″ is that its characters are stereotyped all the way. But it is also the movie's unique selling point because it is an obvious endeavour to exploit the stars' images.
Camera work by Sukumar is excellent since each matinée idol has been given flattering shots but everything has been put together without offending the other star(s) in the same frame.
Suresh Peters' background score etches the taut screenplay and augments the entertainment.
In a nutshell, the film has no wonders and by itself that seems like wonderful news due to its packaging.
Suresh Gopi plays the investigating officer pitted against the defense counsel Mammootty (who had incidentally qualified to be a lawyer in real life).
The third side of the tale's triangle is provided by feudal scion Themmady (meaning rowdy) Devan Pratapa Varma (Mohanlal).
The events lead to a climax that can be guessed by virtually everyone in the audience.
Mohanlal has the easiest time since he plays the cantankerous character with the same verve depicted by him in similar roles in countless films.
Having seen Mammootty in several movies as a lawyer, the role itself doesn't come as a surprise. But, the twists in the tale do the job more than adequately as the star essays his part with skillful, underplayed aplomb.
Suresh Gopi as the no-nonsense cop (another role from the star's checkered track record) suits him to the hilt, aided by the script's chiselled dialogue that accentuates his presence.
There are enough nerve-racking thrills in the narration as each star tries to outwit the other and the narrative provides the audience enough opportunity to go gaga over their icons.
Joshi had earlier cast Mammootty and Mohanlal in offbeat murder mystery "Number 20 Madras Mail" in 1990 with almost equal opportunities.
The only flaw of "Twenty 20″ is that its characters are stereotyped all the way. But it is also the movie's unique selling point because it is an obvious endeavour to exploit the stars' images.
Camera work by Sukumar is excellent since each matinée idol has been given flattering shots but everything has been put together without offending the other star(s) in the same frame.
Suresh Peters' background score etches the taut screenplay and augments the entertainment.
In a nutshell, the film has no wonders and by itself that seems like wonderful news due to its packaging.
The hit makers Rafi-Makartin and Dileep come together in 'Pandipada'. The movie is expected to be another comedy like any other Rafi-Mekartin movie. Life was never easy for friends Bhuvanachandran and Bhasi. All the ventures they started were a flop. Every failure leads to the next project. With high hopes they started a Real Estate business with the funds raised from friends and family. No surprise, the Real Estate business had the same fate of their earlier ventures. Bhuvanachandran ran away from his town leaving Bhasi behind. Bhasi did the same too. Bhuvanachandran reached a village named "Karuvelikattil" in Tamil Nadu. Agriculture was main trade there. Soon he met Bhasi as a coincidence. Leaving their troubled past, they decided to do farming and lead a good life. Karuppayya and Pandidurey are the chieftains on the village. Pandidurey has an army of young thugs nick named "Pandippada", a nightmare for the whole village. Bhuvanachandran and Bhasi become the favorites of both Karuppayya and Pandidurey in short time. They please both chiefs in a convincing manner. Trouble starts when Bhuvanachandran met Meena, daughter of Karuppayya. They fall in love. On finding this Pandidurey becomes so upset that his ally has an affair with his enemy's daughter. Karuppayya is furious and feels betrayed that someone he sheltered is having an affair with his daughter. He is set to finish Bhuvanachandran. Bhuvanchandran is so sure that he will be killed whether by Karuppayya or Pandidurey; he decides to run for his life. To his surprise he get some unexpected help. Rafi-Mekartin depicts the interesting and humorous story about the struggle to survive. Dilip is Bhuvanachandran and Bhasi is Harisri Ashokan. Rajan P Dev does Karuppayya's role and Prakash Raj does Pandidurey. Meena is Navya Nair. Cochin Haneefa, Indrans, Salim Kumar, Ambika, Sukumari etc are in the supporting roles. Review Bhuvan, a small time real estate broker, gets conned into buying land in a village in Tamilnadu. He takes money from a loan shark (Hanifa) and comes to the village to realize that the property is the bone of contention between two landlords. Karupuswamy (Rajan P Dev) and Pandidurai (Prakashraj) are the two chieftains at loggerheads. Pandidurai has an army known as Pandipada. Bhuvan manages to win the heart of Karupuswamy and his mother. Karupuswamy's daughter Meena (Navya Nair) falls in love with Bhuvan. At this juncture, Pandidurai who sees Meena falls in love with her. Bhuvan uses this to his advantage by acting as the go-between for the two and finally manages to change the mind of the warring landlords and take possession of the land. Dilip as Bhuvan does his part well and so also the other actors. Prakashraj, the seasoned actor, steals the show with his comedy timing. The major flaw in this fun-filled film is that Pandipada is a rehash of the same director's earlier films. The same situation of a Malayali in alien land or in a non-Malayali house and the hero always being on the run was seen in the two earlier films of the same director duo. In both the earlier films also, the hero was Dilip. Suresh Peters's music sounds very much like Tamil film music. Saloo George's cinematography is above average. The film is at best "old wine in new bottle".
Kattila Gopalan is a notorious name in a little village named Oonjaalaadi. Though nobody has seen Gopalan, people hold him in dread as he is a thief who always manages to steal whatever he wants, without ever getting caught or even being seen by anyone. His identity remains a mystery.
Then one day Harishchandran, a carpenter happens to see Gopalan for the first time. He is thus forced to flee the little village and seeks refuge in the city. There he meets Lakshmanan, another thief who has an ailing mother to look after. They form a team and start thieving, Lakshmanan to treat his mother and Gopalan with an aim to buy back his ancestral house which he has lost in his childhood. And then a girl named Diana and her brother Babu John, a rich banker, come into the lives of Gopalan and Lakshmanan. Life changes drastically for the duo.
Dileep is his usual self as Gopalan, though he shines more in the comic sequences than in others. Salim Kumar as Lakshmanan is good. The rest of the cast, like Harisri Ashokan as Harishchandran, Manoj K. Jayan as Babu John and Biju Menon as the commissioner of police are OK, though none of them gets to do anything outstanding. The heroine Radha Varma as Diana doesn't impress much. Jagathy Sreekumar too is his usual self.
Nothing much to jot about the songs. The technical aspects are in keeping with the mood of the film. The main flaw as far as Crazy Gopalan is concerned is that it loses its appeal when Dileep's character, that of Gopalan starts playing the usual film hero, inf the baddies and engaging in all kinds of heroics. If the character had been presented in a comic vein on the main, it would have been much more enjoyable. The director Dipu, who has also penned the script, has to take the blame for this. There are many sequences that could have been executed much more deftly, but as such the film requires more of polish.
Then one day Harishchandran, a carpenter happens to see Gopalan for the first time. He is thus forced to flee the little village and seeks refuge in the city. There he meets Lakshmanan, another thief who has an ailing mother to look after. They form a team and start thieving, Lakshmanan to treat his mother and Gopalan with an aim to buy back his ancestral house which he has lost in his childhood. And then a girl named Diana and her brother Babu John, a rich banker, come into the lives of Gopalan and Lakshmanan. Life changes drastically for the duo.
Dileep is his usual self as Gopalan, though he shines more in the comic sequences than in others. Salim Kumar as Lakshmanan is good. The rest of the cast, like Harisri Ashokan as Harishchandran, Manoj K. Jayan as Babu John and Biju Menon as the commissioner of police are OK, though none of them gets to do anything outstanding. The heroine Radha Varma as Diana doesn't impress much. Jagathy Sreekumar too is his usual self.
Nothing much to jot about the songs. The technical aspects are in keeping with the mood of the film. The main flaw as far as Crazy Gopalan is concerned is that it loses its appeal when Dileep's character, that of Gopalan starts playing the usual film hero, inf the baddies and engaging in all kinds of heroics. If the character had been presented in a comic vein on the main, it would have been much more enjoyable. The director Dipu, who has also penned the script, has to take the blame for this. There are many sequences that could have been executed much more deftly, but as such the film requires more of polish.