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Flashback Friday: Revisiting Manichitrathazhu, Shobana Starrer Masterpiece That Withstood The Test of Time
Despite the language barrier, watching the movie is undoubtedly a different experience even though the plot remains the same as 'Bhool Bhulaiyaa'.
WHY MANICHITRATHAZHU IS THIS WEEK'S PICK
- Shobana, whose real name is Shobana Chandrakumar Pillai, turned 54. The actress, who has received numerous national awards, has won over the audience's hearts with her remarkable acting skills. One of her early works, but still among her finest, is Manichitrathazhu. The seasoned actor's cult classic has earned a spot among the best horror films.
New Delhi: Crafting a classic comedy flick is almost a dying skill in cinema, and Bollywood has done its bit to put an end to it. Too harsh? You may say that, but they also didn't spare us from the unfavourable and obnoxious sequels and threequels of the most ridiculous and tasteless comedy film series' (*cough* Housefull *cough*), right? There is no box unticked, from making a mockery of disabilities to selling 'soft porn' under the guise of humour.
We haven't often seen films that have figured out how to make the audience laugh, except for a few genre flicks that got it right. Undoubtedly, there are plenty of classic films that haven't held up well to the test of time. But even today, we're going to pick one of those comedies to watch again. For the makers, the realm of possibility appears to have shrunk in this day and age when a certain level of correctness must be reflected in the content. However, considering how many sanitised comedies, such as 'Jaane Bhi Do Yaaro', 'Bawarchi', 'Chupke Chupke', and many more, have proven themselves as timeless films, it can hardly be an adequate reason.
If you look closely, you can see that regional cinema has often served as a source of inspiration for Bollywood comedies. At least those that come to mind right away—the memorable comedy flicks we often mistake as Hindi cinema's original work. 'Bhool Bhulaiyaa', an early 2000 release that is still unparalleled, is one of them and is an iconic movie starring Akshay Kumar. We know where we would get good laughter, regardless of how many folks uphold the sequel. The movie has served as an example of how to make a comedy film without making a mess of it, besides greatly contributing to the internet's meme material.
Today, however, the focus is on the OG 'Manichitrathazhu', a 1993 Malayalam film, which is where it all began. When a friend brought up Rajinikanth and Jyothika's 'Chandramukhi' while discussing the original version of 'Bhool Bhulaiyaa', I noticed how clueless we were about the 90's masterwork director Fazil had crafted. The genre-defying horror comedy movie considered a milestone in Malayalam cinema, went on to become a cult classic and continues to act as an inspiration for remakes. The movie was remade as Apthamitra (2004) in Kannada and Chandramukhi (2005) in Tamil (also with Telugu dubbing).
This psychological thriller movie, starring Mohanlal, Shobana, and Suresh Gopi, has aged like fine wine. If we specifically consider slipping mental health issues as an undertone into a narrative. In the meantime, modern films like 'Atrangi Re', which also stars Akshay Kumar, flout common sense when tackling these topics. Whether the film's explanations hold up to scientific review is up for debate, but it has undoubtedly been much less problematic than some might have thought.
Watching the movie is undoubtedly a different experience, even though the plot remains the same. Having recently relocated from Kolkata's metropolis, Nakulan and Ganga are a modern couple with rational beliefs. They are keen on staying in the ancestral family mansion, Madampalli, in spite of the superstitious elders of the family's attempts to deter them. In Madhu Muttom's screenplay, the story of Nagavalli, a dancer from Tanjore whose spirit is supposedly trapped in a room in the mansion, is told through the unusual experiences of Ganga (Shobana). Landlord Sankaran Thampi murdered Nagavalli because she fell in love with another dancer when she was his concubine.
Even three decades later, the cinematography of the movie does not fall short, despite the fact that, over time, the visual effects in horror films grow more amateurish and far from refined. We occasionally find ourselves on the side of the fervently religious and paranoid characters as Fazil sets up a tone of spectacular dread. Those hand-held camera shots, which added to the tense ambiance, deserve a big shoutout. Aside from the outstanding cinematography, it also benefits from thoughtful song selection and tastefully used sound effects. With a strong plot, dramatic direction, and flawless acting, 'Manichitrathazhu' stood out.
Sunny, Nakulan's buddy and psychiatrist, shines in his role. He has a knack for fusing comedy and curiosity into a single scene. Mohanlal's peculiarity remains intact throughout the movie and doesn't go too overboard; instead, the perfect balance between sincerity and hilarity is struck. And even if you watch the Malayalam original with subtitles, the comedic timing is genuinely funny. This is one of the rare films where the playful tone doesn't take away from the mystery that the creator purposefully builds.
But one has to bear in mind that Mohanlal and Shobana together carry the film, with the weight sometimes leaning somewhat more in her direction. Shobana portrays both the hero of the story and the nemesis nearly flawlessly in a time when roles for female actors were rarely fleshed out. She aces all of it, whether it's portraying Ganga's inquisitive gaze or Nagavalli's vengeful glare. Even without having many dialogues at her disposal, she strives to keep the audience captivated. And how can we overlook the brilliant climax, which showcased the actor's range and cemented 'Oru Murai Vandu Parthaaya' as an all-time great track.
'Manichitrathazhu' retains its grandeur even after we uncover all of its secrets, unlike many thrillers that cease to appeal once we figure out whodunit. Therefore, those willing to get past the language barrier will witness a remarkable piece of cinema on the other side.
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