Category: malayalam cinema

Abrahaminte Santhathikal:When The Viewer Is At Fault, Not The Movie.

One of my earliest memories of watching a movie in a theatre is that of the 1991 sequel to Avanazhi, Inspector Balram. Mammooty at his intense best in a role that would in time become the gold standard for police officer characters in Malayalam Cinema, or so. Balram was  the Dirty Harry of Malayalam, sans the Magnum .44 of course, though the climax of Inspector Balram had more to do with Die Hard I, if you ask me. Mammooty in khaki was always pitched as the stuff of cinematic dreams to the audience and whenever his luck at the box office has been down the star has donned the uniform to try and get the cash registers ringing again, wouldn’t blame him either. Well, why would Mamootty debate when people are convinced that when it comes to playing lawyers and policemen other actors a’int got shit on him. Lawyers because he has law degree.By that logic, Mohanal would have made a legendary WWE wrestler. Just saying.

Abrahaminte Santhathikal is Mammooty’s fourth outing as a cop in the past two years and is in fact another unremarkable addition to the string of mediocre films the actor has been churning out at a regular pace, of late. Going in, I had read the best things about the film on social media and even Mathrubhumi, who have been posting “genuine” reviews ever since a fiasco involving a “popular” actor on the wrong side of the law put them at loggerheads with the film industry at large, reduced the only negative thing they had to say about the film to a single closing sentence, in their review. Yeah, you could argue that I had my hopes sent up in an express elevator to the 130th floor of the Burj Khalifa and if I did’nt like the film, the blame rests entirely up on me and my expectations , which if you care to ask  is a logic that I haven’t quite been able to wrap my head around. Now, there are two possibilities  the way I see it, either I have absolutely no idea what I’m talking about when it comes to movies or Mammooty films aren’t doing justice to the man’s talent and stature as an actor and a star anymore. And allow me to assure you  for a fact that the former is not the case. The only reason I’m finding time to write about the film is because I just happened to realise that I was not the only one who was fooled by the fanfare.

Abrahaminte Santhathikal starts off with the mandatory introduction scene for the hero, the tackiness of which is challenged only by its blatant racism. Of course, such nuanced thinking is alien to us as an audience in God’s Own Country. One though has to admire the perseverence of the makers in their decision to stick to time tested, stale formats and choosing to shut doors on creative thinking. It’s not a surprise at all that a movie as disoriented as this leaves the viewer in a similar state of mind too. From a ransom drama to a serial killer hunt to murder mystery to  family drama, every genre is visited by the makers here, which in itself is quite an achievement. The movie constantly engages in a mental sparring match with the viewer using some of the most incoherent writing you will ever come across in films to a point where  the viewers’ senses are numbed and they stop caring entierly about script and storyline. The makers then shove some slow motion sequences which is synonymous with stylishness in our cinema, accompanied by some rousing BGM down the audience’s throats. That’s the plot of the movie, if you ask me, literally. An actor of Mammooty’s calibre deserves better film making and bit more responsibility on the part of the makers. That’s saying like it is.

 

 

 

 

 

 

Uncle: The Review.

Morality and the human urge to scrutinise fellow beings in the name of it is a phenomenon that is as old as the history of mankind. The so called Victorian Moral Codes were propagated throughout the British Empire and it’s hardly surprsing that it has found immense acceptance  in God’s Own Country where we welcome everything foreign with wide open arms and one might be tempted to label us a regressive bunch but allow me to remind you that we had nothing to do with Monica Lewinsky turning an anti-bullying activisit or Lady Di’s demise in a French tunnel. Joy Mathew returns as a writer after Shutter and also acts in Uncle which deals with the ideas of morality and the hypocrisy that runs deep in the lives of us Malayalis.

If Joy Mathew impressed you with his skills as a writer in Shutter which also dealt with a similar theme, its his subtle and restrained performance as an actor that makes you sit up and take notice of, in Uncle. Yes, its a Mammootty film and may have been a much needed breather of a hit for the star but still he is little more than eye candy in this movie which almost entirely belongs to Joy Mathew and Muthumani. For an actor who has roles like Bhaskara Patelar, Ahmad Haji and the more recent Raghavan in his resume this role is cakewalk for Mammootty and throws up no serious challenges to his skills as an actor or image as a family idol. Joy Mathew on the other hand has elevated himself to another level in a role that must have struck a chord  with the predicament that every middle aged dad finds himself in Kerala today. It does’nt help that every relationship is compartmentalised and when they collide, havoc it wreaks in minds and hearts. Muthumani’s role of a regular Malayali mother is a slow burner that goes full throttle in the climax. Most of the movie takes place either inside a house or inside a car and the writer and director have skillfully entwined the scenes  here which keeps the audience interested in the proceedings on the screen.

Though i have had my differences with Joy Mathew’s responses to various issues on social media, here he has taken an interesting position, politically and socially, and his observations are bang on target too. The message that he delivers ultimately is that when it comes to moral policing in Kerala, people unite beyond barriers of religion and political beliefs, its the manifestation of basic human nature, at the end of  the day. You cannot fight the mob, but you need not submit to their bullying either. The only part where the movie falters is when it  has to cosy up to the image of the star,towards the end, I felt. If Mammootty walked off the sets of Masterpiece to that of Uncle, Joy Mathew the writer must have had a hard time convincing him that beating up and bouncing bad guys off the ground is not the answer everytime.

 

Swathanthryam Ardharathriyil: The Review

A semblance of truth and human interest are all it takes for a reader to suspend his disbelief and overlook the implausibility of the narrative, proposed Samuel Taylor Coleridge two centuries back. Tinu Pappachan has succeeded at that in his debut movie as a director, at least with me. I must admit that I was a more than a bit biased going in, considering the fact the cast and crew of Angamaly Diaries almost entirely made up the line up for this movie, replete with an extended cameo by Lijo Jose Pellissery. It is in fact a reunion for the Angamaly Diaries team, except for the notable addition of Vinayakan.

From The Great Escape to Shawshank Redemption to the namesake Prison Break series,  the genre has spawned gems on multiple occasions in the west but it’s a theme that has been rarely explored in Indian Cinema.Padmarajan’s Season, which was ahead of it’s times in many ways and far removed from his other works, is the only film from our part of the world that comes to mind, in this genre. Swathanthryam Ardharathriyil, if you ask me has more in common with Season than any other prison break themed classic out there. Personally I believe that the key to the success of any action thriller is in sustaining the mood and not so much in the number of action sequences and Tinu Pappachan has delivered in that department.He owes a lot here to Gireesh Gangadharan, who is the Haile Gebrselassie of the world of cinematopgraphy if i may, considering his penchant for long shots and to run with the camera following the actors in the most difficult of chase sequences. Editing by Shameer Muhammed has also played a huge role in keeping the proceedings on screen interesting for the viewer.Cinematography and editing are the actual heroes in the climactic showdown and that’s where and how the film picks up the tempo in the later half.Music by Jakes Bejoy is a major contributor too, throughout the movie.

Antony Varghese plays the lead again along with an ensemble cast and it’s still too early to judge this untrained actor, those who were eager to write him off as a one film wonder might have to rein in their thoughts for now.Vinayakan proves here again that he is here to stay and the audience loves him for that.Chemban Vinod is no different though  his role here has the shades of almost all the characters he has played to date but I don’t mind that at all, trust me.The film for most part, wisely refrains from dwelling for too long on moral justifications of the actions of the lead actors and strictly sticks to the task at hand, the prison break plan and its execution.This was a refreshing approach and maybe this is why the sequence where mob justice is delivered doesnt fit in and stands out like a sore thumb.Tinu Pappachan can sit back contended and deserves appreciation just for attempting such an unconventional yet ambitioius and risky debut in Malayalam cinema.

Sudani From Nigeria : The Review.

When Aamir Khan made a movie on wrestling, he told the unconventional tale of a father in the heartland of patriarchy, who chose to defy the norms and went on train his daughters as champion wrestlers. Anurag Kashyap made a movie on boxing and chose to tell his story against the backdrop of the rampant castesim and jingoism in his home state,UP. And then you have Zakariya Mohammed, the debutant director who has gone ahead and made a movie based on the football frenzy in Kerala, reflecting the culture of brotherhood and love across borders, ethnicities and identities that has always stood the state apart from the rest of the world.My personal theory about this inclusive culture and general lack of animosity of the people in the region is that, we have been exposed to outsiders through centuries of trade rather than invasions.I have always believed that Cinema is a universal language which transcends the barriers of the mind and lands reiterating the fact that the human condition is the same, everywhere.Sudani From Nigeria reinforces that belief.

Like how every Malayali in the Middle East is a Malabari, every African player in the fiercely competitive Sevens football scene in the state is a Sudani to the locals, hence the title of the movie. Though there’s isn’t much of actual football in the movie, it’s an indispensable part of the story here and revolves around it, much akin to the life of the team manager Majeed played by Soubin Shahir. He’s no Arsene Wenger though, and splits the prize money between his players per game and sleeps with them on the floor of the one room atop a building which passes for the players’ accommodation, when he can’t find peace at home.The player who is the focus of the tale is Samuel Abiola Robinson, a Nigerian actor. The crux of the tale is the bond that develops between Samuel’s eponymous character and the people in Majeed’s life which ultimately transforms him as a person too. It was not enough it seems, that the Nigerian’s addressed a Sudani, he’s sudu to Majeed’s mother and neighbors, in true Malayali tradition. No one goes without a pet name here.

The characters who will actually blow you away are played by three, elderly actors who are not exactly familiar faces in  Malayalam cinema.Savithri Sreedharan as Majeed’s mother has successfully translated the six decades of her experience as an award winning theatre artiste onto the silver screen.She is in fact a representative of the unconditionally loving mothers of the world, here.Sarasa Balussery, another award winning drama actor who’s making her mark in this movie plays the wisecracking ,tough neighbor who competes with Majeed’s mother to take care of Samuel.She’s no different from those tough as nails aunts and neighbor ladies in our own lives who have showered us with affection.Delivering the most moving performance of the three is another veteran stage artiste, KTC Abdullah as Majeed’s step-father. It’s a role and performance that would leave Stone Cold Steve Austin teary eyed. It would be unfair not to mention Muhsin Perari’s writing, which i suspect has contributed heavily in capturing the charms of life in the small towns and villages of Malappuram.One can’t but help feeling that a film as unique and refreshing as this could have avoided the controversy that was stirred up post release and though any publicity is good publicity these days, the film deserved better.

 

 

 

Captain : The Review.

Biopics are a risky business and demands extreme diligence from the makers, especially the writer and the director.Its an even narrower line to walk when tragedy is involved and the person on whom the movie is based has passed after an equally successful and troubled life.A movie in this genre that hasn’t been plagued by some sort of controversy or been a source of  disgruntlement for the kith and kin of the individual who’s the subject, is a rare occurence.This is where Prajesh Sen stands tall as a debutant director who has  pulled off the impossible with a film that’s flawless in terms of conception and execution.Sen’s greatest sucess as the writer of the film too here, is that he has told the tale of V.P.Sathyan,former captain and defender par excellence of the Indian Football Team, with the greatest of respect for his memories as a player, son, husband and father.Sen has ensured that the dignity of the man is preserved even when his least proudest of moments were portrayed on screen.The film stays true to its tagline and indeed tells the tale of an unsung hero.

Jayasuriya delivers the performance of his lifetime in the role of V.P.Sathyan.He has always been an actor who takes great pain and goes to great lengths to transform himself into the characters he plays.Those efforts have paid off indeed this time around and more importantly it’s one of his most restrained and measured performances as an actor, if you ask me.Anu Sithara perfectly complements Jayasuriya in the role of Anitha Sathyan which has been sensitively written by Sen.Siddiuqe is not around for long in terms of screen time but leaves his indelible mark as always in his role of a very unique character who essentially represents the football lovers of Kerala.In an equally compelling role, Renji Panikker reaffirms that he is here to stay as a character actor.Janardhanan who used to play characters inspired by E.K Nayanar in Shaji Kailas films of yesteryear gets to play K.Karunakaran, the Leader here.Prajesh Sen is not without a subtle sense of humor you get to know when Janardhanan thanks Guruvayoorappan while watching Sathyan lead Kerala Police to win in the Santosh Trophy finals. Gopi Sundar’s music elevates the film to a different level entirely and is an integral part of the storytelling here.

The movie follows a non linear style of storytelling and tells the tale of the of V.P Sathyan from his days as  a kid who played in his backyards to being the captain of the Indian Football Team.He was a player who literally gave his life to the game and stuggled to accept and handle the fact when the game was done with him.Sen has also highlighted the unfair discrmination the game faced in the country from the public compared to the frenzy and fanfare that Cricket kicked up.The movie also brings to light the lack of a support system, especially pschological, for the players and people in the game which is essential for rehabiliation, mental and physical in moments of crisis.Sen’s masterstoke as a director here to me was the climax where he chose to end the film not around his death but with a dramtised version of the defining moment in V.P Sathyan’s career, his legendary goal against South Korea.Captain is not just the best biopic ever in Malayalam cinema ,its one of the best biopics to hit the screens in Indian Cinema I’d say where sport themed films happen once in a blue moon.A fitting tribute to the Sathyan’s legend and life.

Hey Jude :The Review.

A Shyamaprasad film that didn’t drag you into the depths of desolation and gloom along with it used to be a rare phenomenon until he supposedly went commercial with Ritu close to a decade back, yet it was far removed from the usual fare that you came across in Malayalam cinema though the veil of melancholy that almost always hangs over Shyamaprasad’s themes was absent in it.He explored the dark recesses of the human mind and the complexities of human relationships in Ore Kadal, Akale and Elektra and in the meantime he surprisingly chose to expose the lighter side of his creative mind to the audience with a short in the anthology Kerala Cafe.He went down that lane again in English and Arike but it’s with Hey Jude that he has truly picked off from where he left off in Off-Season i can’t but help feel.Or maybe it’s the common backdrop of the ocean and the beach that’s giving me those vibes.

This is Nivin Pauly’s third outing with Shyamaprasad who has not had frequent collaborators in the past and it looks like its third time lucky for Nivin.Set in Goa, Hey Jude is a breezy feel-good film considering what Shyamaprasad could’ve instinctively done otherwise with the story of a man with Asperger’s Syndrome and a woman with bipolar disorder and the credit i think goes here to the scriptwriting duo.Shyamaprasad’s deviations from his favorite themes have always been when he associated with other writers.Interestingly Nirmal Sahadev who was Chief Associate in Ivide has co-written the script for Hey Jude with George Kannat and he’s also set to make his directorial debut with another story set in the U.S, Ranam which has Prithviraj playing the lead.

Nivin was at the receiving end of some unfair criticism in Ivide where he shared screen space with Prithviraj but he has silenced his detractors  in Hey Jude with his inspired portrayal of the troubled charachter.Siddique excels yet again as Nivin’s father in a role that’s not too different from that of Lal’s in Njandukalude Nattil Oru Idavela.Coincidentally that film too dealt with a medical condition in a lighter vein though Hey Jude is more of a romantic comedy, which for some reason reminds of Adam Sandler’s Punch Drunk Love.Vijay Menon,whom the Malayalam film industry had reduced to the in-house psycho-drug addict over the years gets liberated here with a full length role thats almost tailor made to suit his on screen persona.Trisha gets to play a next door girl character that’s quite the opposite of the one that earned a cult status among the audience a while back, that of Jessie from Gautam Menon’s VTV.

Though the script is not without a few holes,with Shyamaprasad’s trademark unhurried approach and his skill as a director with a  level of sophistication that’s not exactly at home in Malayalam cinema, Hey Jude makes for a pretty good weekend watch to unwind yourself with.

Streetlights : The Review

Streetlights has its flaws but but you still end up liking it for its unforced charm.The only purpose of casting Mammootty in this film was to save it from a fate akin to that of say, the many Asif Ali new wave thrillers that have hit the screens in the recent past.A name as big as his brings the attention of the global Malayali audience to a film that wouldve otherwise ended up in the obilivion that the post-DVD-torrent world is, a forgotten link on an illegal streaming site.As the star’s own production house was backing the movie, you had this inkling that it wouldn’t be just another dud in his cap, which it seems, he has been all too keen to collect, of late.

Though the whole premise of the film is eerily similar to that of Puthanpanam, what saves Streetlights is some genuine writing that tries to bring in some novelty in scenes and situations that are cliched to an extent.The writer has put some time and effort into all the characters and that keeps the movie afloat, I feel.But it has to be said that the writer couldn’t resist the tempations to indulge in toilet humor, literally.The string of coincidences that drives the narrative does seem outlandish, towards the end especially but the pace of the proceedings on screen and the performances of the supporting  cast comes to the rescue of the film here.Dharmajan stands out here and has delivered in a role that’s well etched and far removed from the fumbling sidekick roles we have seen him often in.He is a revelation, almost.Hareesh Perumanna on the other hand has been asked to talk his talk and still makes a decent job of it, as he has done in the numerous films he has been part of in the past couple of years.The one part of the film that i disliked to the core are the scenes set in primary school, where kids have been asked to behave like college students by the makers.This is something that we have seen in quite a few Malayalam movies recently and it is neither cute nor funny by any stretch of imagination.

Mammootty the actor or Mammootyy the star doesnt stand to gain much from this movie but you do get to see glimpses of both in flashes, if you care to look closely.One scene stands out particularly, where the Police officer played by Mammootty, out looking for a con-man in Fort Kochi which in the Malayalam Cinematic Universe is the hub of all things bad about Kochi, a den of criminals so to speak, confronts a bunch of local goons.The director shows extreme restraint here and instead of asking Mammootty to swing from a rope and make the baddies fly out into outer space, with utter disrespect for the memories of Isaac Newton – which until recently was something that you saw only in Tamil and Telugu movies – Shamdat Sainudeen in this pretty decent transformation from a cinematographer to a director, shows that an actor of Mammootty’s calibre can deliver as much impact as a punch or a highflying kick by just saying the right words with the right intensity.It was almost the vintage Mammooty from Avanazhi and Inspector Balram, for a moment there.And yeah the director does save some rope swinging action sequences for the climax.Get over Pulimurugan already, people !

 

 

 

Masterpiece: The Roast, well done.

Masterpiece is a movie that shouldn’t be missed by any of the aspiring scriptwriters out there.If you doubt your skills and fear that you are not good enough to make it big in the malayalam film industry, this is the one film that you should be watching. I respect Udayakrishna. In a film that has Mammootty as the leading man, when a viewer finds relief in a character portrayed by Santosh Pandit, you know its no mean acheivement for a wrtier. Again, I have nothing but respect for Udayakrishna. The mark of a great movie is when the viewer is haunted by the images he has watched on screen well after the end credits have rolled, a Masterpiece indeed. The greatest mystery in this whodunnit which is also a campus movie and a socio-political thriller at the same time, is the title of the movie itself, while a layman like me would be tempted to think that its a direct reference to the many “mass” scenes which make up the movie, I doubt that’s the case here in fact and this just might end up one of the greatest cinematic mysteries of our times, right up there with the spinning top’s fate in Inception, no less. Hey, did I mention that I respect Udayakrishna?

If youre of the dated opinion that Sarvakalashala, Sukhamo Devi and even Sangham truly reflected the campuses and students of their times and films like Cheppu and Mazhayethum Munpe portayed the most memorable roles of the Big Ms, in their turns as college professors, your tastes and sensibilities as a viewer need an obvious update and Masterpiece is exactly what the doctor ordered. Ajay Vasudev has portrayed a college campus that reeks with reality to an extent that the stench remains with you, long after you have left the hall. I am compelled, to respect Ajay Vasudev too.

Now, there are detractors who feel that two of the greatest “mass” scenes of Mamooty in the past decade or so are the police station scene from Ranjith’s Kaiyoppu and that silent walk of disappointment and rejection from Martin Prakkatt’s debut, Best Actor. These are scenes which any other actor of our times could pull off with ease and why would an actor of Mammooty’s calibre waste his precious talent with such roles when he can bounce baddies off the ground and kick them around for most of his screen time in a gem like Masterpiece. Goes without saying that i respect Mammooty.

Villain: The Review.

An ensemble of familiar tropes and then some more.That was Villain for me.B.Unnikrishnan, to whom the mantle of the master of suspense in the Malayalam film industry has passed on from the likes of K.Madhu and Shaji Kailas for lack of a better contender has always tried to show a sophisticated ,suave Mohanlal in his movies.Mohanlal has looked his best in recent times in B.Unnikrishnan movies but there’s always something missing in those films that leaves you dissatisfied as a viewer at the end of the day, they’re like a Venkatesh Prasad spell so to speak, there’s the run up, there’s intent, there’s attitude but lacks the most important deliverable, pace and ultimately gets hit down the park in utter disdain.

Here too B.Unnikrishnan loads his movie with attitude and an urbanity which is totally detached from the reality of our social and political infrastructure in an attempt to emulate the refined cop movies from Hollywood that we have grown up to, over the years.To be fair, the movie tries earnestly to hang on to its tagline, which is basically about the shades of grey in every one of us.Except for Manju Warrier’s , every other significant character in the movie has a twist to their persona which unravels as the movie progresses and in a way justifies the makers claim that there’s a villain in every hero and vice versa.But the movie chooses to deal with this theme superficially and if B.Unnikrishnan was inspired here by Nolan’s Dark Knight and Vishal’s role is intended as a loose take on Legder’s Joker, he misses the mark here by a mile.Getting his actors to break into dialogues that would be more at home in Hollywood than in a Malayalam film doesn’t necessarily make the film suave if thats the intention.And B.Unnikrishnan needs to get over his fascination with crony digital interfaces which again look like an unimaginative rethinking of the gesture interfaces from the Iron Man movies.He had a field day with those in Mr.Fraud, just for the record.Do away with those spinning progress bars and the beeps in the cyber cell please, 2.0 is to hit the screens soon too by the way.The director tells us he’s as up to date as any of us as a viewer of the thriller movies and shows from abroad when he throws in the term “black site” randomly during an interrogation scene.

Emotional thriller,is the phrase thats been doing rounds ever since this movie was released and if you ask me i honestly do not know what that is, psychological thrillers i know but emotional, that’s new to me.If those are movies where the sequences cut rapidly from forced melodrama and action back to back then maybe this is indeed the genre that the Villain belongs to.Yes,Mohanlal emotes the hell out of himself in a most restrained performance of his in recent times here but please do not invent a new genre just because you feel obliged to justify ever outing of his.Now, that the phrase has been coined, the only Malayalam movie that fits the label that comes to my mind is Kouravar from yesteryear.But thats another time, another era, another film entirely.To me this movie would rank behind Grandmaster and Mr.Fraud amongst Unnikrishnan’s works with Mohanlal.

Njandukalude Nattil Oridavela: The Review.

Nivin Pauly tells Altaf Salim in a scene from Sakhav that its not acting but planning that matters, when told that his acting skills weren’t much to write home about.It was less of an innocent line from the film if you ask me, considering the rank outsider’s career in the malayalam film industry until now and more of a jibe at his critics and detractors.Ironic , because he garnered your attention as a viewer with brief sparks of intensity in his debut movie and you had this feeling that this guy was here to stay.The actor has made the right moves and wise choices to be where he is today and it shows that he has a plan indeed.Nivin without this planning would be say, Unni Mukundan, if you know what I am talking about.The actor proves himself right again with his latest release, Njandukalude Nattil Oridavela.He knows his cinema i should say.

Njandulakude Nattil Oridavela is not the best of the Onam crop of films, it is in fact one of the best films of the year, easily.To say Altaf Salim makes an impressive debut as a director here, would be an understatement.The debutant makes two cameo appearances in this film although one is just his voice and he has earned those, i would say.Poignant and delightful in the same breath, this gem of a film offers a thoroughly refreshing take on a topic that would have otherwise been reduced to another grim tearjerker.For a movie that dealt with a crisis of the greatest magnitude that could hit a family, the theatre was filled with sounds of laughter for the entire running time and none of these were forced or out of place.The casting is pitch perfect and Lal delivers another memorable performance.Shanthi Krishna couldn’t have asked for a better comeback vehicle.Nivin Pauly plays to his strength here as the next door boy and is a reunion of sorts for him with the Premam team with the exception of Alphonse Puthren and Shabareesh Varma.
The movie caught me off guard when it choked me with emotion right before the end titles rolled and the lights came on as my ego certainly didn’t want people to see me with my eyes welled up.Reminded me of an anecdote from a time when you actually relied on big brothers in the neighborhood for movie reviews and its just a coincidence that it’s about one of the greatest family tearjerkers of our times, Akashadhoot.Story goes that two friends are out watching the movie and one of them is wiping tears off his face every other minute thanks to Sibi Malayil when he notices in the dark hall that his pal next to him hasn’t budged in the seat.While he was wondering if his friend was that hard hearted, the lights come on for the interval and he turns to see the guy sitting there with tears rolling down his cheeks and hands gripping the seats hard.
#njandukaludenattiloridavela

PS: വെളിപാടും ആദാമും കണ്ടു ഇനിയൊരു അങ്കത്തിന് ബാല്യം ഇല്ല എന്ന് കരുതി ഇരുന്ന ഞാൻ ഞണ്ടുകൾക്കു കേറുമ്പോൾ മൾട്ടിപ്ളെക്സിന്റെ മൂലക്കിരുന്നു ഒരു “പുള്ളിക്കാരൻ” ചിരിക്കുന്നുണ്ടായിരുന്നു, ചാത്തന്മാർ നിന്നെ കൊണ്ട് വരും എന്നും പറഞ്ഞു