Biju Menon and Vineeth Sreenivasan are aces in Syam Pushkaran’s misleading screenplay, the place issues don’t come at you the way in which you count on them to.
The opening visible and the opening stretch of Saheed Arafath’s Thankam inform two totally different tales. The visible is that of loneliness: we see a person dealing with the ocean, his again to us. There’s a whiff of melancholy concerning the picture, one thing we sense regardless that it’s just some frames. After which, we lower – out of the blue and dramatically – to this similar man within the midst of the other of loneliness. He’s within the midst of bustling crowds, within the midst of the gold enterprise of Thrissur. His identify is Kannan (Vineeth Sreenivasan), and he sells the gold jewelry made by his pal Muthu (Biju Menon). The opening credit seem over a tune that’s a dedication to Dhanalakshmi, the goddess of wealth, however notice the signal exterior Muthu’s workshop: the identify of his “firm” is hand-written on a tragic piece of cardboard. The enterprise could cope with one of the valuable of metals, but it surely’s clear that folks like Kannan and Muthu aren’t precisely millionaires. Therefore that opening visible of Kannan staring on the sea: it’s a touch of a frame of mind, a touch of issues to come back.
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