Official release of ‘Obtrusive Hopes’!

Hey folks! As a result of the 2 months continuous effort I had put into giving an indicative life to our short movie, the Film Fest results finally got published on 19th Feb 2013. Thank God! “Obtrusive Hopes” has been selected in the top 50 list out of 400+ entries received in this National level competition conducted by Malayala Manorama Yuva. Well, as a beginner I’m fully satisfied with it. Now its time for me to share my little movie with you all! I have been getting queries from a few of my friends from this space about its official worldwide release. Here is it!
Obtrusive Hopes


1) Don’t praise me simply with the nebulous +ve comments only because of the reason that I own a good contact with you via this network. Hence please do leave me your sincere feedback about the movie after watching it; regardless whether it is good or bad, I wanna hear you. 🙂
 2) If you liked our little work, please do share it through various social media buttons, so that my intention behind its making would work out so easily and become a success.
4) Contact me personally here or mail me at for any specific queries about the movie. I will be glad enough to get in touch with ya. 🙂

Now it’s time for you to watch our movie! Don’t forget to follow the above special notes I had put. Relax and enjoy my little movie. Have a good day ahead. God bless. Cheers!\m/ 🙂

Why Anjali Menon is so special for me?

I know, many among you’re so doubted with the title part of this post itself! “Anjali Menon? Who is she?”, a quiet, natural query that would come directly to your mind if she is a stranger to you;  I reckon, she is a familiar personality for every Mallu movie lover. Hence, for the ones who don’t know anything regarding her, let me narrate what I know about her briefly at first.

Anjali Menon, an Indian Movie Director- Script Writer who has created her own insignia in the Film Industry within a short span of time after releasing Manjadikkuru, her debuted Malayalam movie. She was born in Calicut, Kerala and grew up in Dubai in the later stages of her childhood for a few years and came back to Kerala in the later period. She has done her high school education in Calicut, Kerala and graduated with a degree in commerce from Providence Women’s College, Kerala. Later she did a graduation in communication studies and specialized in TV related production in Pune, India. It was during the year 2000, she has joined at the London Film School, specializing in Film Direction, and was awarded with overall distinction honors in directing and editing of a film.

I suppose, the description would surely propitiate you all to have a simple note regarding her. For me, Anjali Menon is not only a beautiful lady who has a pile of pure succulent magical threads in her creative-innovative thoughts that I’ve seen through her director’s talent in Manjadikkuru, though she is a pakka Mallu personality who’s a lot of memories to be shared regarding the strong bond of relationships and love between the common lives in Kerala. 

It was Manjadikkuru[Lucky Red Seeds], her first debuted movie in Malayalam, which deals with the tale of homecoming family members from the late 1970’s; the story goes through the eyes of Vicky, a 10 year old boy, arrives at his grandparents’ home in a rural area of Kerala to attend his grandfather’s funeral.  The whole members in family united together for a common ceremony after a long time, though it was for a funeral function and they gathered together for the sixteen day long Kerala’s traditional burial period. During this period, Vicky discovers more about himself, his family and culture than he had expected to. The journey later narrates through the adult lurks of Vicky, who returns to the same house for having some ingenuous espy about the past memories of his Grand parents home. He came as a young man (Pritivi) to visit the old grounds he’s in memories, and finds the ‘Lucky little seeds’ scattered away. Manjadikkuru serves me a lot of tentative influxes from Anjali about the ancient Kerala’s tradition and rituals. Even though I have studied the history behind our cultures, traditions and rituals existed here from my social studies text-book years back, it was a new experience for me to have a keen benevolent being through the realistic scenes of this flick. As she expatiated us (people in Kerala) with Manjadikuru [Lucky Red Seeds] only on May 2012, most of them aren’t familiar regarding the premiere of the movie at an International Film Festival and won the award for the Best Mallu Movie and Best Dubutant Director during the year 2008. In 2009, the movie bagged enough nominations for various honors, including 5 Grand Jury Awards – Best Film, Best Director, Best Screenplay, Best Cinematographer and Best Emerging Talent at SAIFF venue, New York. Other than Manjadikkuru, she has written the story-script part for Anwar Rashid’s Usthad Hotel too. She isn’t the one who is running behind fame or money. You can’t see her any interviews or TV shows. She knows what, when, where and for whom to do.  That’s why, Anjali Menon is a great attitude marker for me, personally.  

Link to her blog:

Credits for the images and nominal info about her: Google!


Review: Oldboy

A substantive revenge revealing flick!

Park Chan-wook’s Oldboy, a korean flick, which shows the concoction of sexuality, violence, and cinematic ingenuity in a well outspoken manner. It’s not a political or sexual flick, but it is all about the distortions of one’s personality as a result of revenge, which was meant for a corny incident happened during hero’s(Dae-su) teenage .Choi Min-sik did that role in a well explicit and extra ordinary manner. Hat’s off to you mahn! \m/ 🙂

 Movie begins with the drunkard Dae-su’s intemperate behavior and scrimmage against the police authorities, who arrested him under an indrawn custody. Later he released from there with the help of his friend,  Joo-hwan! He gets Dae-su to call home from a phone booth, but while the solicitous friend takes a turn talking to the birthday girl, Dae-su mysteriously DISAPPEARS.  Later we are supposed to see, Dae-su in a prison cell, where, with the help of a voice-over delivered by Dae-su from some time in the future, we find out the businessman has been imprisoned for 15 YEARS. The specialty about the prison is that, it’s a private cell by ill natured people for their customers to have their enemies kidnapped and locked up.  Dae-su’s life in such a complicated days made him to wait for the day of negotiation from there.  Life inside it was a comfortable cell, which resembles a very comfortable studio apartment sans kitchen, TV and all. He writes out a lengthy list of people he’s offended or injured enough to have plotted this revenge.

This slideshow requires JavaScript.

Let’s just say that Dae-su is, after 15 years, released from his prison and wanders into a sushi bar where he meets Mido (Kang Hye-jeong), an 18-year-old sushi chef with whom he soon takes up.  During this middle section, Dae-su is contacted over a cell phone he’s slipped – and, eventually, through email – by the mysterious man who paid for his imprisonment.  Dae-su also tracks down the prison’s location and wreaks a little revenge of his own on his hired jailers.

From here onwards, we can see the extremely violent, though the physical violence seems perfectly appropriate when you match it up to the psychic violence.  Also, Park throughout the film, has employed distancing devices.  He’ll use a medium shot instead of a close-up whenever he can, a long-shot instead of a medium shot.  The movie’s big fight scene – during which Dae-su pummels a platoon of pole-wielding thugs with a hammer (and wins) – is filmed in a beautiful and splendid way for the viewers.  Just before the fight begins, when Dae-su holds his hammer over the head of his first victim, a dotted line suddenly appears on screen tracing the path the hammer will take to the man’s pate. It’s really horrible as well as substantive one though. 😀

Park’s visual language can be lovely, as well.  In his cell, Dae-su had been susceptible to hallucinations in which ants had crawled all over his face and arms and under his skin.  Mido, who reads about it in his journals, tells him she feels bad for him; she’s read that people who dream about ants are lonely.  To show the idea of loneliness and ants as Mido imagines it, Park uses a computer trick to have an oncoming subway car cross the frame from upper right to lower left; whether intentional or not. When he cuts to the inside of a train car, all alone, and a placid-looking giant ant all alone in another.  It’s an antique moment, strangely serene, odd, and wholly different from Dae-su’s experience.

The middle portion of Oldboy belongs to Dae-su and Mido, their burgeoning relationship and how it tries to take hold under what turns out to be the surveillance of Dae-su’s foe.  The final third belongs to Dae-su and that foe who, by then, has openly revealed himself and prodded Dae-su to discover the source of his enmity.

Park Chan-wook’s Oldboy delivers a package of filmed vengeance that is steeped in rage and violence.  But it’s also a rigorously introspective movie of the times. For me, Oldboy is one among the movie that can be added to my top 5 flicks list. A MUST watch one! 🙂


I’m so glad to share the youtube link of full movie with English subtitles here. Hope you guys will enjoy watching this irrevocable thriller. 🙂


നിങ്ങള്‍ക്കുമാകാം കോടിശ്വരന്‍!!(ഇതെന്താ സംഭവം???)

ഇത് എന്റെ ആദ്യത്തെ മലയാളം ബ്ലോഗ്‌ ആണ്!സത്യത്തില്‍ എന്താണ് എഴുതേണ്ടതെന്നു ഇപ്പോഴും ഒരു പിടിയില്ല.എന്തിരുന്നാലും എന്തെങ്കിലുമൊക്കെ എഴുതണം.അതെനിക്കറിയാം! 😀 .
ഇങ്ങനെ എന്തിനെ കുറിച്ച് എഴുതുക എന്ന് ചിന്തിച്ച് കൊണ്ടിരുന്നപ്പോഴാണ്‌ പെട്ടന്ന് നമ്മുടെ asianet il “നിങ്ങള്‍ക്കുമാകാം കോടിശ്വരന്‍” എന്ന പരുപാടിയുടെ പരസ്യം കണ്ടത്.എന്നാല്‍ പിന്നെ അതിനെ കുറിച്ച് തന്നെ എഴുതാം  എന്ന്  വിചാരിച്ചു.ഞാന്‍ ഇവിടെ പറയാന്‍ പോകുന്നത് ഒരു വിമര്‍ശനമായി ആരും ഉള്‍കൊള്ളരത് എന്ന്‍ ആദ്യം തന്നെ പറഞ്ഞു കൊള്ളട്ടെ.ഇനി നമുക്ക് കാര്യത്തിലേക്ക് കടക്കാം.വലിയ ആമുഖങ്ങള്‍ ഒന്നുമില്ലാതെ തന്നെ ഞാന്‍ എന്റെ ഉള്കഴ്ച്ചകളെ പ്രകടിപ്പിക്കാന്‍ പോവുകയാണ്.

പ്രിയപ്പെട്ട സുരേഷ്ഗോപി,

താങ്കള്‍  എപ്പോഴെങ്കിലും “നിങ്ങള്‍ക്കുമാകാം കോടിശ്വരന്‍” എന്ന പരുപാടി നേരിട്ട് കണ്ടിട്ടുണ്ടോ?കണ്ടിട്ടുണ്ടെങ്കില്‍ തന്നെ ഇത്തരമൊരു അഭിനയ ചക്രവര്‍ത്തിയുടെ പ്രകടനം കണ്ടിട്ട്ട് ഒരിക്കലെങ്കിലും ചിരിച്ച്ടിലെ?ഞാന്‍ അങ്ങയുടെ തീ തുപ്പുന്ന ഡയലോഗ്കളാല്‍ സമ്പന്നമായ ചിത്രങ്ങളാലും പ്രിതിഭാധ്നമായ വ്യക്തിത്വത്തിന്റെയും ഒരു ആരാധകനായിരുന്നു.എല്ലാ വിധേനയും അങ്ങ് ഒരു നല്ല നടന്‍ ആണെന്ന്‍ എനിക്കറിയാം.പക്ഷെ എനിക്കിപ്പോഴും ചില സംശയങ്ങള്‍ നിലനിക്കുനുണ്ട്.

എന്ത് കൊണ്ട് സുരേഷ്ഗോപി എന്ന അതുല്യ നടന്‍ ഇങ്ങനെ ഒരു വിക്രിയക്ക് നിന്നു?

എന്തിനു ഒരു കോമാളിയെ പോലെ ലോകത്തിനു മുന്നില്‍ ഇത്രയും നന്നായി അഭിനയിക്കുന്നു?

ഇത് എന്റെ അഭിപ്രായം മാത്രമാണോ എന്ന്‍ എനിക്കുറപ്പില്ല.പക്ഷെ സത്യസന്ധമായി ഒരു കാര്യം ഞാന്‍ വെളുപ്പെടിത്തികൊള്ളട്ടെ!

എന്റെ അറിവില്‍ ഉള്ള മിക്കവരും(അച്ഛനും അമ്മയും ഉള്‍പ്പടെ) “നിങ്ങള്‍ക്കുമാകാം കോടിശ്വരന്‍” എന്ന പരുപാടി കാണുന്നത് അങ്ങയുടെ അസാധാരണമായ പീറ പുരാണങ്ങള്‍  കേള്‍ക്കുവാന്‍ വേണ്ടി  മാത്രമാ.ഞാന്‍ ഇത് കാര്യമായിട്റ്റ് തന്നെ ആണ് പറഞ്ഞത്.അത് കൊണ്ട് ക്ഷമ പറയേണ്ട ആവശ്യകത ഒന്നും തന്നെ എന്തായാലും എനിക്കില്ല.

“ദെ പോയി,ദാ വന്നു”

എന്താണാവോ അങ്ങ് ദിത് കൊണ്ട് ഉദേശിച്ചത്??
(ഇത് ഒരു പൊടി പൊടിപ്പന്‍ ഡയലോഗ് ആകാന്‍ ആണ് അങ്ങ് വിചാരിച്ചതെങ്കില്‍ ഞാനും ഇവിടെ ഒരു ഡയലോഗ് പറയ…)

“ദെ പോയി,ദിനി വരണ്ട”

ഒരു രക്ഷയില്ല!!ലോകം മുഴുവന്‍ അങ്ങയെ നോക്കി ചിരിക്കുകയാണ്.ഇക്കണക്കിനു പോയാല്‍ അതികം വൈകാതെ തന്നെ സുരേഷ്ഗോപി എന്ന അതുല്യ നടനെ നമ്മട സാള്‍ട്ട് ആന്‍ഡ്‌ പെപ്പെര്‍ലെ ബാബുരാജ്‌ കൈകാര്യം ചെയ്ത വേഷങ്ങള്‍ക്ക് സമാനയമായ വേഷങ്ങളില്‍ കാണാം.പക്ഷെ അത് പര ബോര്‍ ആയിരിക്കും കേട്ടോ!!


ഇത് അങ്ങയുടെ പരുപാടി വല്ലപ്പോഴും കാണുന്ന ഒരു പ്രേക്ഷകന്റെ പ്രതികരണം ആണ്(എന്റെ വീട്ടിലെ പ്രതികരണവും ദിത് തനെ ആയിരിക്കും).അപ്പോള്‍ റെഗുലര്‍ ആയിട്ട കാണുന്നവരുടെ ഗെതി എന്തയിരിക്കുമോ എന്തോ ??

ഇനിയിപ്പോ എന്താണെന്ന്‍ വെച്ചാല്‍ അവിടുന്ന്‍ തന്നെ തീരുമാനിക്കുക.തല്‍കാലം എനിക്കിത്രയും പറയാനുള്ളൂ. 

നന്ദി നമസ്കാരം….


 രാഹുല്‍ അശോക്‌