That they managed to bring Mammootty on board turns out to be the cherry on top of the iced cake.
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Its initial scenes also works as mindlessly fun entertainment, with Mohanlal’s Tony Kurishingal, a rich prodigal son of a planter providing wholesome laughs with his cracker of a drunken act. Directed by Joshiy, written by Dennis Joseph, the film is hailed as one of the most popular murder mysteries in Malayalam cinema. A Malayalam superstar (Mammootty playing himself), a businessman (MG Soman), his daughter who gets killed, her lover (Asokan) are others who find themselves drawn into this murder case.
Of course, no one can pull off Solomon quite like Mohanlal who blends charm, mischief, romance, anger, and pathos, even while crafting one of the finest proposal scenes (with a gem of a BGM from Johnson) in the history of Malayalam cinema.Ī mysterious murder aboard the Madras Mail triggers a chain of events, putting focus on the passengers, especially three aimless young men involved in drunken brawls inside the train.
That Solomon eventually breaks the myopic conditioning attached to chastity in a bride (ironically fed by society, cinema, and books) and takes Sofia back to their haven, makes this film a revolutionary cinematic experience. But when their mothers eventually reconcile to their relationship, Sofia is molested by her stepfather, leaving Solomon in an emotional and moral quandary. Though he falls instantly in love, it takes time for Sofia who is trapped at a home where her stepfather’s intentions are not honourable. It is during one of those weekend visits to his home that Solomon notices this girl slaving out in their neighbourhood through the window of his bedroom. Writer-director Padmarajan weaves a classic romance between Solomon and Sofiain in the backdrop of the sprawling vineyards of Mysore. It remains an enjoyable with every revisit. The film has Anthikad’s usual line-up of fabulous actors, an effortlessly funny Mohanlal who speaks unthinkably terrible Hindi, paired with the talented Karthika, brilliant, original characters like Sankaradi as the local pulp fiction writer, Sukumari as the colony president, KPAC Lalitha as the general nosey-body, Asokan as the local Romeo and a terrific cameo by Mammootty. Written by Sreenivasan (who also acts in it) and directed by Sathyan Anthikad, this film should be considered the second-after Sanmanasullavarkku Samadhanam (1986), before Nadodikattu (1987)-in the trilogy of their collaborations which thrived on the clueless middle-class, the debauched Nair tharavadu, unemployed sons and married daughters with their dowry woes (or how they were made to feel guilty about asking for their rightful share of properties). It is also where Mohanlal seems to have begun leaving traces of himself in every character.Ī young man struggling to make ends meet slips into the unlikely role of a Nepali gurkha at a middle-class locality in Central Kerala. In a way the film was the first of the many which catapulted the actor into the hearts of the Malayali audience. He became the boy-next-door, who was flawed, gullible, always lived a hand-to-mouth existence and was hung up on white collar jobs. If Priyadarshan created the goofy, delectable manifestation of the actor called Mohanlal, Sathyan Anthikad channelised that goofiness into a more rooted and relatable milieu. The humorous narrative follows their struggles, resulting in one of the classics comedies in Malayalam cinema. The film, written by Sreenivasan and directed by Sathyan Anthikad, is about two young men who find themselves in Chennai after being duped into believing that they were headed for jobs in the Gulf. They were middle-class young men who battled job loss and poverty with a cheeky irreverence, dreamt of greener pastures, found themselves in odd situations, and still managed to retain their sense of humour. Dasan and Vijayan will remain one of the most popular duos of Malayalam cinema’s golden 80s.
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