Ayyappanum Koshiyum Malayam Movie Review | Prithviraj | Bijumenon
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Ayyappanum Koshiyum Malayam Movie Review | Prithviraj | Bijumenon

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Koshy, a resigned havildar falls into difficulty with the law under SI Ayyappan Nair’s locale in Attappadi five days before Christmas. Prior to going to prison, Koshy tells Ayyappan Nair that he will pay back him the minute he gets bail. Will this be the start of a fight between the team?

Survey: At a significant minute in the motion picture, Ayyappan Nair, SI of Attappadi police headquarters tells the circle auditor, ‘Pidippum swadeenavumullavarodulla pedi nammalepollulavarude pidippu kedanu’.

Is it essential for a cop to reconsider and consider the names in the guilty party’s telephone contacts to make a move against somebody who oversteps the law? This is the thing that Sachy asks through his most recent film, featuring Biju Menon as Ayyappan Nair and Prithviraj as Koshy Kurian.

Koshy is a resigned havildar who is enroute to Ooty from his local Kattappana with jugs of alcohol through Attappadi, which is a non-alcohol zone. Ayyappan Nair’s subordinates capture him and the tumult starts.

The capture wounds the sense of self of Koshy, who is the child of Kurian John (Ranjith), an average lethal manly Achayan from the high range. In the wake of having guaranteed his significant other and girls that he would get back for Christmas, Koshy is presently being imprisoned without bail for about fourteen days. The minute he gets bail, Koshy starts moving in the direction of vengeance.

How things take a turn when his deeds question the reasonable help records of Ayyappan Nair, who should sack the police decoration from the central priest, make the essence of the film.

This is essentially a significant sense of self conflict among Ayyappan and Koshy, which is fuelled by Kannamma (Gowri Nanda), Ayyappan Nair’s better half, and Kurian.

In the event that Ayyappan battle is for presence, the Kurian father-child do it because of a pride and haughtiness. What’s more, the chief figures out how to hold the crowd in that convincing state of mind from beginning to end.

Sachy, the essayist and executive of the three-hour-long motion picture, sagaciously contents a story that clarifies the battles of a genuine cop who esteems mankind above everything and how he changes a rich, ruined whelp and carries him to down to the real world.

In spite of the fact that we have movies, for example, Driving License and Vikram Vedha, it is acceptable to see a business film depict contemporary, socio-political circumstances, be it Maoism or battles of the subaltern.

The film isn’t just the war among Ayyappan and Koshy and their machismo however between classes, hues and perspectives in the public arena.

The ladies in the film get the opportunity to voice their sentiments and perspectives in the midst of the harmful manliness and machoism.

They represent themselves and the individuals around with their background. In any case, a scene wherein Koshy slaps his significant other, by implication infers that it’s constantly a man’s reality.

In any case, we likewise get the inclination that the author has deliberately made circumstances for ladies characters to respond to men, maybe to earn applauds during circumstances such as the present that are touchy to feministic sensibilities.

Jakes Bejoy makes the movie regular with his music by mixing it very well with Sudeep Elamon’s visuals, validating Mohandas’ invigorating craftsmanship heading that catches the greenery, and light and shadows of Attapadi. The society components in the BGM need a notice.

Aside from a deliberately composed content with fascinating characterisation, the throwing is a reward. While Prithviraj and Biju Menon enter the new decade with noteworthy exhibitions, Ranjith smoothly offers life to Kurian John.

Gowri Nanda depicts Kannamma impeccably and is a solid character. Kalanilayam Rameshan, Anil P Nedumangad, Sabumon Abdusamad, Dhanya and Anu Mohan too have made their characters surprising.

Sooner or later, from a humanistic perspective, one may ask why the couple are locking horns just to fulfill their inner selves.

Watchers may think that its hard to favor one side and anticipate what they are up to straightaway. While sitting at the edge of the seats, we are helped to remember the well known discourse from Kurosawa film Rashomon, “At last, you can’t comprehend the things men do”.

This is a film of two men and their personalities. On the off chance that you need an adrenaline surge and appreciate overwhelming pictures venting out bestial desires, go for this. It is a decent watch during the current day and age.

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