Theerppu

Theerppu movie review: Theerppu seemingly has no inkling of how absolute power works. It kind of argues that the powerless defeat those in power by dying.

What’s up?’ But for some unknown reasons, Kalyan feels the need to give the full account of his business to Ram, who is already in a desperate situation, where he’s in no position to care about what’s happening in Kalyan’s career. The screenplay is a lot on the nose, where Murali Gopy feels the necessity to dump a lot of information without much provocation. And when we own our history, we develop a sense of accountability, which in turn enables us to avoid repeating the mistakes of those who came before us, so we can break the cycle of history repeating itself. The story: A group of four friends find themselves under the same roof after a gap of 15 years. Ram Kumar Nair (Vijay Babu), the promoter of the private resort, has turned it into a museum. Ram has turned the place into a utopian land where opposing ideologies, ideas and personalities occupy the space in complete harmony.

Theerppu, the social drama that features Prithviraj Sukumaran in the lead role, has finally hit the theatres today (August 25, 2022). The movie is helmed by ...

They are equally impressed with the socio-political perspectives discussed by director Rathish Ambat and writer Murali Gopy, along with a touch of dark comedy. Prithviraj Sukumaran played Abdulla Marakkar in Theerppu, which features Saiju Kurup and Vijay Babu in the roles of Parameshawaran Potty and Ram Kumar Nair, respectively. Theerppu revolves around Abdullah, who is back in the lives of Parameshwaran and Ram with a revenge plan and executes it during a get-together.

In Theerppu, Murali Gopy and Rathish Ambat also pack in an allegory about what's happening in today's socio-political scenario where history is rewritten to ...

There is an allegory to what’s happening in today’s socio-political scenario where history is rewritten to influence and manipulate the ignorant as well as the indifferent. Verdict: Rathish Ambat once again chooses to tell a story that is packed with layers of information and keeps swapping genres with Theerppu. In fact, the two halves of the film work separately, but it’s debatable whether they are potent as a whole. In Theerppu, the duo borrows a thread or two from Kammarasambhavam, by way of how history is torn down and then rebuilt by the powerful, by falsifying the truths to appeal to the many. The basic thread is about three friends coming together to recount the wrongs that have been done and the price that has been paid. Review: Scriptwriter Murali Gopy and director Rathish Ambat’s previous collaboration Kammarasambhavam was a tale of two halves – one about what actually transpired in the past and the other about how history was manipulated to influence the ignorant.

Cast: Prithviraj Sukumaran, Indrajith Sukumaran, Mamukkoya, Siddique, Saiju Kurup, Vijay Babu, Isha Talwar, Hannah Reji Koshy. Duration: 2h 36m. | Language: ...

Nothing much of him beyond his childhood is revealed, except that he was in Mumbai for a while and that he was in a mental asylum. It's taut, fitting, and gives it the right measure of thrills. Vijay Babu who was recently accused by a co-star of sexual misconduct surprisingly lives up to the role which ironically seemed to mirror his real-life persona. As Nair proudly takes the couple on a home tour, he takes it as an opportunity to scorn his friend's intelligence, lack of English skills, personality and general knowledge. At the core is a very predictable tale of betrayal and vengeance. He is perpetually inebriated, is determined to take his vengeance and is very calm about it. It's the high-end resort/home of one of the key characters in the film—Ramkumar Nair (Vijay Babu) and his wife Mythili (Isha Talwar). But then instead of keeping it as a treachery of friendship, the emphasis is on their religious identities. Also he is a bit too excessive with his rhetoric (Tiyaan for instance) that takes away the nuance of storytelling. It's when Parameshwaran Potty and wife Prabha visit them for a business deal that the skeletons start tumbling out of the closet. It’s taut, fitting, and gives it the right measure of thrills. But the problem with his politics is that in an attempt to keep a painful balance, he often tumbles over.

After delivering the hattrick of superhits this year, Mollywood star actor Prithviraj Sukumaran is all set to roar at the box office once again with his ...

As per the estimation, the day 1 collection of the film will be around Rs 3-4 cr gross at the BO WW. It is locking horns with Vijay Deverakonda’s Liger, which has been released in over 200 theatres in the state. The movie is said to be released in around 170 theatres in Kerala.

Theerppu attempts to explain to its audience the murky Indian politics but ends up being an illustrated dictionary for children.

It is not that he is a bad actor, but he seems to be determined that, at any cost, he will not bend or twist his body to cast out the powerful star that he is in real life and internalise the character. Throughout the film, the camera is a listless onlooker that captures the virtuous, the corrupt, the victim and the dubious in the same light. The film’s primary setting is a five-star hotel, repeatedly described by its owner as the finest in the world. In a state where politics is mired in countless homegrown issues, Theerppu presents a replica of the north Indian Hindu nationalist party, the loudness of whose identity would make it a fringe element in Kerala, as the evil one must immediately tackle. The women of a collapsed Muslim family wind up in Syria and the pulling down of the ancestral house resembles the breaking of Babri Masjid. This practice of acknowledging and appreciating those who closely or remotely helped make the movie, came to be a standard in the Malayalam film industry long ago.

The film starring Prithviraj and Indrajith can be read as a commentary on revisionist history and political appropriation with a lot to offer 'between' the ...

Saiju Kurup is effective in the role of Potty, a rather simple man, the ‘centrist’ of the lot, who becomes a source of comic relief for Ram due to his ‘naivety’. The two women characters — Prabha and Isha Talwar’s Mythili as the ‘wives’ — do not have much to do than be spectators in the background. Indrajith shoulders the final portions of the film with his balanced act as a crafty police officer with hilarious one-liners. On its most superficial level though, Theerppu is a story of four childhood friends — one of them haunted by a traumatic childhood, caused due to an act of treason committed by fathers of his friends. Unfortunately, it is at this level that the film is most ineffective. In this manner, similar to director Rathish Ambat’s previous collaboration with Murali Gopy, Theerppu becomes a commentary on revisionist history and political appropriation, with no points for subtlety.

Theerppu is the story of four childhood friends, whose past connects, and repels their tumultuous relationship as the result of a betrayal and vows broken.

Ratheesh Ambat is self-aware of the complex transgressive nature of the whole exercise and revels in punctuating the excesses in its seeped in observations on our political unrest of the morally conflicting times in human existence. Parameshwaran and his wife need investment for their prospective business and are hopeful of convincing Ram to join forces in clearing their debts and setting up shop as per plans. The filmmakers have to walk the tightrope of being entertaining and still not run the risk of condescending towards the not-so-easily initiated member of the audience for a shot at political and ideological engagement from the viewer. The film kicks into action with Parameshwaran Potty (Saiju Kuruppu) and his wife Prabha (Hannah Reji Koshy) visiting his childhood friend Ram (Vijay Babu) and partner Mythilli ( Isha Talwar, in his their newly renovated resort , a place filled with relics and passes of as a sassy art gallery in the middle of nowhere. The makers have been marketing the film as an allegory, a sort of narrative design where the events on screen are meant to be a mere stand-in for more severe social and political commentary. Setting up this context is important in the case of Theerppu as the film echoes the thematic concerns wrapped within the confines of the sub-genre of “the home invasion drama.” and run-of-the-mill revenge thriller tropes.

Theerppu aims to be an allegory that spans friendships, politics, history. But what it ends up becoming is a simple revenge story that is spiced up with ...

Because the truth is worth it.) What makes this usual revenge story different is the labels that are associated with each character, the political subtexts and the setting where the plot unravels. Almost all the roles in the film are defined as vapid and morality-deficient characters who function in a survival mode. The first half of Theerppu is engaging however you feel lost somewhere in the second half. What is the judgment for the criminals? Their fathers are embroiled in a property dispute.

ലൂസിഫറിനു ശേഷം മുരളി ഗോപി തിരക്കഥ എഴുതിയ ചിത്രം. കമ്മാരസംഭവത്തിനു ശേഷം മുരളി ഗോപിയുടെ ...

തിരക്കഥയിലെ ഈ ബ്രില്യൻസാണ് ചിത്രത്തിന്റെ ഏറ്റവും വലിയ പ്ലസ് പോയിന്റ്. ലൂസിഫറിനു ശേഷം മുരളി ഗോപി തിരക്കഥ എഴുതിയ ചിത്രം. ആ ഹെറിറ്റേജ് ബംഗ്ലാവിന്റെയടക്കം ഭൂതകാലം പ്രേക്ഷകന്റെ കണ്ണിൽ സെൻസറിങ്ങിന് വിധേയമാകുന്നു. ഒരു ഹെറിറ്റേജ് ബംഗ്ലാവാണ് ചിത്രത്തിൽ ഭൂരിഭാഗവും പശ്ചാത്തലമായി വരുന്നത്. കമ്മാരസംഭവത്തിനു ശേഷം മുരളി ഗോപിയുടെ തിരക്കഥയിൽ രതീഷ് അമ്പാട്ട് സംവിധാനം ചെയ്ത ചിത്രം. ഇതുവരെ മലയാളസിനിമയിൽ കണ്ടുപരിചയിച്ചിട്ടില്ലാത്ത ദൃശ്യമികവോടെ, നൂതനസാങ്കേതികവിദ്യകൾ ഉപയോഗിച്ച് തയാറാക്കിയ ഹെറിറ്റേജ് ബംഗ്ലാവിലെ കാഴ്ചകളാണ് ചിത്രത്തിന്റെ ആദ്യപകുതി സജീവമാക്കുന്നത്.