I hear it was written over the course of a year, with each scene polished and each performance fine-tuned until everything was working to their maximum capacity. Watch out for a particularly romantic moment whose emotions are elevated by the music.įrom the quality of the result on the screen, it is evident that this is a script that was developed carefully and patiently. And Sushin Shyam's music sounds much better when accompanied by these visuals. Nature always plays a big part in Shyju's vibrant photography, and there are a lot of moments in this film that stand out. It's not every day that you see a cinematographer accomplish that. He has such a good grasp of the material and knows exactly what kind of mood is demanded of a particular scene. Shyju Khalid, who shot Ee Ma Yau, is also the cinematographer of this one. There is a natural progression in their story arcs. Never once does his characters' reactions to their situations seem artificial. As someone for whom subtlety has always been a strong suit, Syam doesn't use his characters as mouthpieces for currently trending 'woke' topics. Unlike some of the recent Malayalam films, Kumbalangi Nights is not being liberal just for the sake for it - it doesn't shove its progressive ideas down our throats.
And Soubin's character - well, why don't you find out yourself? At one point, Sreenath Bhasi's character brings home an African-American girl. Though open-minded when it comes to love and sex, their regressive surroundings stand in the way. Bobby falls in love with a Hindu girl Babymol (Anna Ben in an impressive debut) who happens to be the younger sister of Shammi's wife. Its characters - minus Shammi - have a liberal outlook. Though the film is set in a small fishing village called Kumbalangi, its ideas are contemporary and universal. They are not making any progress they're first-class slackers. In their small box-like home, they have their own invisible boxes in which they have cocooned themselves. They sometimes accuse each other of showing off, and occasionally get into violent scuffles. And on the other side, we have Shaji and his three brothers who have their own skewed view of masculinity. But he is also extremely narrow-minded and, well, a complete psycho. On one side, there is the antagonistic Shammi, who is blessed with good looks and a wife. Each male character sees himself as the hero of his own story. Once again, he challenges the conventional ideas of masculinity, and, in doing so, completely deconstructs it. In Kumbalangi Nights, these questions are more prominent than they were in those films. What makes a 'complete man'? Or, rather, what makes a man complete? Writer Syam Pushkaran first asked these questions in his debut work Maheshinte Prathikaram and a year later in Mayanadhi (which he co-wrote).
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