32aam Adhyaayam 23aam Vaakyam Malayalam Movie Review 2015
latest malayalam movie review 32aam Adhyaayam 23aam Vaakyam 2015
CRITICS
2 out of 5 (Okay) '32aam Adhyaayam 23aam Vaakyam' clocks in at less than two hours and at the end, the lack of conviction stands out, all apparent. Though it steers itself clear of the genre cliches, '32aam Adhyaayam 23aam Vaakyam' fails to shake off the awkwardness and plasticity that makes it a leap to nowhere.
Rafi
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'32aam Adhyaayam 23aam Vaakyam' is an aspirant thriller that suffers from an over the top plot. Ridden with crisscrosses, this film falls short of being an entertaining thriller on account of the disarray that messes up its script.
Ann (Mia George) is a journo who works with a television channel is overjoyed to hear that her husband Freddy (Govind Padmasoorya) will be flying all the way from the US to join her for their first wedding anniversary. The couple decides to have a true blast during the short vacation that Freddy has managed to grab, but a book that is gifted to them by a friend ruins their plans beyond recognition.
The build up is the sole redeeming factor in this film, and none of which precedes or follows it holds any significance. '32aam Adhyaayam 23aam Vaakyam' is thus a pressure cooker with a loose weight on top, that lets off the steam as quickly it had built it up.
A lack of focus takes the fizz away from the film, and the initial discussion on the number '23' that gains momentum for a while, dies out with a whimper pretty soon. The film then starts talking of a murder that had been quite a hot topic of discussion a while back, and attempts to be a murder mystery.
It does not however triumphantly bride the gaps between its narrative, and instead leaves behind plenty of unresolved issues. And there is the question of believability as well, when it becomes obvious that it takes too many things for granted.
Like for instance, when the fingers start pointing here and there and finally at themselves, Anne and Freddy are confused beyond their wits. The audience is not much less confounded either, and even if one goes by the golden adage that questions should not be asked in stories, this by any yard looks way too far fetched.
It is indeed commendable that young film makers Arjun Prabhakar and Gokul Ramakrishnan have ventured to move far beyond the beaten path in '32aam Adhyaayam 23aam Vaakyam'. But it could have helped infinitely more if they had carefully managed to bring in a bit of coherence into the plot as well.
There wont be much of a trouble identifying the person behind the murder for the keen viewer, and hence there are few surprises in store when it comes to the manner in which the tale heads towards its end. And even then, '32aam Adhyaayam 23aam Vaakyam' denies you that satisfaction that one expects of a film that falls into this genre.
I loved the performances in the film - be it that of Padmasoorya's or Mia's - and together they make a charming pair on screen. There is Lal in a cameo of sorts as well. '32aam Adhyaayam 23aam Vaakyam' looks stunningly good thanks to some splendid cinematography by Jemin Jom Ayyaneth who has done a commendable job.
'32aam Adhyaayam 23aam Vaakyam' clocks in at less than two hours and at the end, the lack of conviction stands out, all apparent. Though it steers itself clear of the genre cliches, '32aam Adhyaayam 23aam Vaakyam' fails to shake off the awkwardness and plasticity that makes it a leap to nowhere.
Ann (Mia George) is a journo who works with a television channel is overjoyed to hear that her husband Freddy (Govind Padmasoorya) will be flying all the way from the US to join her for their first wedding anniversary. The couple decides to have a true blast during the short vacation that Freddy has managed to grab, but a book that is gifted to them by a friend ruins their plans beyond recognition.
The build up is the sole redeeming factor in this film, and none of which precedes or follows it holds any significance. '32aam Adhyaayam 23aam Vaakyam' is thus a pressure cooker with a loose weight on top, that lets off the steam as quickly it had built it up.
A lack of focus takes the fizz away from the film, and the initial discussion on the number '23' that gains momentum for a while, dies out with a whimper pretty soon. The film then starts talking of a murder that had been quite a hot topic of discussion a while back, and attempts to be a murder mystery.
It does not however triumphantly bride the gaps between its narrative, and instead leaves behind plenty of unresolved issues. And there is the question of believability as well, when it becomes obvious that it takes too many things for granted.
Like for instance, when the fingers start pointing here and there and finally at themselves, Anne and Freddy are confused beyond their wits. The audience is not much less confounded either, and even if one goes by the golden adage that questions should not be asked in stories, this by any yard looks way too far fetched.
It is indeed commendable that young film makers Arjun Prabhakar and Gokul Ramakrishnan have ventured to move far beyond the beaten path in '32aam Adhyaayam 23aam Vaakyam'. But it could have helped infinitely more if they had carefully managed to bring in a bit of coherence into the plot as well.
There wont be much of a trouble identifying the person behind the murder for the keen viewer, and hence there are few surprises in store when it comes to the manner in which the tale heads towards its end. And even then, '32aam Adhyaayam 23aam Vaakyam' denies you that satisfaction that one expects of a film that falls into this genre.
I loved the performances in the film - be it that of Padmasoorya's or Mia's - and together they make a charming pair on screen. There is Lal in a cameo of sorts as well. '32aam Adhyaayam 23aam Vaakyam' looks stunningly good thanks to some splendid cinematography by Jemin Jom Ayyaneth who has done a commendable job.
'32aam Adhyaayam 23aam Vaakyam' clocks in at less than two hours and at the end, the lack of conviction stands out, all apparent. Though it steers itself clear of the genre cliches, '32aam Adhyaayam 23aam Vaakyam' fails to shake off the awkwardness and plasticity that makes it a leap to nowhere.
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