Aarkkariyam is a latest Malayalam Movie Released in 2021 Year.
Malayalam Movie Aarkkariyam starting Biju Menon, Parvathy Thiruvothu, Sharafudheen, Directed by Sanu John Varughese.
Aarkkariyam Movie is about Biju Menon, Parvathy Thiruvothu, Sharafudheen ,
AARKKARIYAM MOVIE IS AVAILABLE RENT FOR RS.99 AT FIRSTSHOWS.COM
CLICK HERE FOR RENT MOVIE FOR RS 99. Watch Aarkkariyam Full Movie Online
WATCH AARKKARIYAM MOVIE TRAILER
Aarkkariyam movie review:
When we first meet Shirley (Parvathy Thiruvothu) and Roy (Sharafudheen) in their Mumbai flat, they are preparing for a trip to her father’s home in Kerala. These are the early days of COVID-19 , and masks and sanitisers are already the norm.
The steady rhythm in the couple’s routine belies their tension over Roy’s financial dealings with a close friend (Saiju Kurup, credited here as Saiju Govinda Kurup).
At his unflashy but comfortable Kerala home built on sprawling grounds, Sophie’s widowered septuagenarian Dad, Ittyavira Abraham (Biju Menon), manages his lands and his household. Ittyavira is a retired Mathematics teacher and a devout Christian. He is irritable with the domestic help (Arya Salim), but operates at a pace that mirrors Sophie and Roy’s lives. In comparison with the youngsters though, he seems not to be dealing with any specific stress. Or so we think.
Aarkkariyam marks noted cinematographer Sanu John Varughese’s directorial debut. In the first half, the deliberate languor affords the director time and space to establish Shirley, Roy and Ittyavira as regular people with regular problems who have faced the regular heartbreaks inevitable in any regular human being’s existence.
Nothing much happens pre-interval, but quite a bit is conveyed. We sense a deep affection in this family. The environment in Ittyavira’s kutumbam is easygoing and relatively liberal. One indicator of this is the level of comfort between Shirley and Roy when they discuss their past relationships; another is Roy’s commitment to their child Sophie (Thejaswi Praveen). Far removed from most Indian homes, work and leisure pursuits here are shared equally between the men and woman, cooking and cleaning are not assumed to be Shirley’s domain and no one makes a big deal of any of this or of the fact that Shirley and Roy take turns at the wheel on the Maharashtra-to-Kerala drive. Think of how rarely we see the woman driving when a man and woman are in a vehicle in an Indian film, and you will know why this is significant.
Further indication of Ittyavira’s politics comes from a scene in which he gets furious with an individual who bangs a thaali as instructed in real life last year by Prime Minister Narendra Modi right before the declaration of an all-India lockdown – it is amusing to note how much is said without saying a word in that moment.
And then, just as the inactivity in the narrative is becoming too much, a giant-sized disclosure sparks great anticipation – greater than it might have in a film that had been eventful until then. The uneventfulness of what ensues though simply does not work.
The writers of Aarkkariyam – Sanu himself, Rajesh Ravi and Arun Janardhanan – get a primary character to drop the mid-point bombshell so quietly, that it ends up being more of a shocker than if it had been done melodramatically. That, however, is the high point of the film. With the resolution of this mega problem and the revelation that follows, the script’s philosophical pretensions are never fully realised.
Throughout the film, Ittyavira speaks of an Avan (He/Him) to whom we must submit ourselves. This is an extremely religious man who is convinced that God has a plan and He can see a macro picture that we humans cannot. Shirley and Roy too are devoted to their faith. And the expression “aarkkariyam” (who knows?) is uttered more than once in confusing situations with the unspoken addendum, “God knows”. Belief in god and religion when deftly handled can translate into a rewarding film even for atheists and agnostics (no differently from how rationalists could well enjoy paranormal thrillers), but Aarkkariyam is unable to lend credibility or substance to the reasoning behind its focal point. And it lacks pizzazz.
Posts
No comments
Post a Comment