Irupathiyonnaam Noottaandu Review: A confused mess of romance and social issues
The intro begins vignettes of religion, arts, and philosophy, reinforcing how the 21st century is a harbinger of change and innovation but speaks how the boundaries of religion and cast are deep-rooted in the society. Irupathiyonnaam Noottaandu, speaks about how women are silenced, in the torturous life they have had to live, just because of the fact that, she is a girl. At least, that is the moral with which the films end.
In order to blow up this idea, comes the aid of poorly written dialogues are shadows of Mohanlal movies and other popular culture that are so cringy, one desperately hope for a fresh comic and action scene. Pranav‘s character Appu is introduced, as youth who’s not interested in following the footsteps of his Don father, Manoj K Jayan. He runs a humble homestay in Goa and into his life comes Zaya, a carefree, at the same time, a mysterious girl. Obviously, they fall in love, in a matter of days and the first half ends with this zealous quest to rekindle the love. The idea has become the trademark of the new gen movie which seriously lacks from an identifiable plot. The highlight of the second half is the story of Zaya and her justification of what she’s doing. This is a part where the story becomes more away from the main lead. One of the comedy scenes which is applaud-worthy is how priests indulge in immoral acts and how that is neglected as an everyday event in the society and media.
Zaya’s story that evolves with the second half. Ideas are good enough but the character outlet seems very slow. The story is not an untold one, but something everyone refuses to see through. The choice that one makes to protect the mind, body, and soul. But this veil is not strong enough to sail through the turbulent wave of life. She recognizes her love for Appu and then together, embark upon a high-speed drive, chased by the police in the high range area.
Pranav sometimes looks, as if he’s forced to act at gunpoint. Manoj K Jayan looks savvy with his salt and pepper look, but that’s about it. His comedy doesn’t time very well and it is perfectly visible that Pranav is not in sync in expressing emotions. The superfluous Christian wedding dance ceremony that does not make sense with the narrative, disappoints the viewer, as it digresses so much from the main story. There are occasional comedic bouts by Dharmajan Bolgatty in using ‘Facebook Live’ as a means of protest and ridiculing the controversies in church.
Peter Hein, the action director, has done some excellent job in choreographing the fight scenes above the train. The police officer coming to attack the couple in the train along a bunch of hooligans, and the one punch man performance of Pranav, isn’t very realistic. The long drawn out plot from a simple story is a confusing mess of romance, cliché comedy, and limited action. The only mystery that seems to intrigue the viewer is how clean the Indian Railway is.