Welcome Guest [Log In] [Register]
Welcome to KeralaKingdom. We hope you enjoy your visit.


You're currently viewing our forum as a guest. This means you are limited to certain areas of the board and there are some features you can't use. If you join our community, you'll be able to access member-only sections, and use many member-only features such as customizing your profile, sending personal messages, and voting in polls. Registration is simple, fast, and completely free.


Join our community!


If you're already a member please log in to your account to access all of our features:

Username:   Password:
Add Reply
Ore Kadal - All About Relationships; Mammootty, Meera excel in Ore Kadal
Topic Started: Aug 30 2007, 12:00 PM (504 Views)
-Sebil-
Member Avatar
~::THE ADMINISTRATOR::~
Admin
Ore Kadal
Posted Image
Movie
Ore Kadal
Director
Shyam Prasad
Producer
Vindyan
Music
Ouseppachan
Cast
Mammootty, Narain, Meera Jasmine, Ramya





By Moviebuzz


Shyamaprasad’s Ore Kadal has a touch of class and is one of the finest movies told about relationships and the contours of the human mind. Shyam puts the institution of marriage under the scanner, and talks about the emotional turmoil that a person undergoes, that can make or break a relationship.
What makes the film work is the top-of-the line performances of its lead actors. Mammootty shorn of his superstar mannerisms and Meera Jasmine’s life like performance, ably supported by Narain and Ramya Krishnan. The haunting background score of Ouseapachan creates the mood, as the story moves on a kaleidoscope of human emotions.

The film is based on Bengali writer Sunil Gangopadhya’s classic “Heerak Deepti”. Shyam has changed the milieu from Kolkata of the early twentieth century to a modern metro. Though he does not identify the city by name it looks like the story is happening in Hyderabad, by the registration number of the vehicles used in the film.

Dr S R Nathan ( Mammootty) is a renowned social economist, who is also a well known writer on the social inequalities in the country. He is basically a loner, alcoholic and a womanizer (whenever physical need arises!), who has a long standing relationship with a high class call girl Bella (Ramya Krishnan). Nathan has hardly any human feelings or emotions when it comes to matter of love. He is in love with himself, his work and says- “It’s economics that rules, not emotions”.

But fate has something different for Nathan, when he helps a lady staying in his apartment complex with a sick child in arm, who has no money for treatment! Nathan comes to know that Deepti’s ( Meera Jasmine) husband is unemployed and she has no money even to pay her rent! ( Nathan: “In india the biggest problem that the middle class is facing is unemployment, there are 20 million unemployed people in the country.”).

Soon Nathan takes a fascination for her, which ends in bed, nothing new to him, but it opens a whole new world for Deepti. She is drawn emotionally to him, as her husband Jayan (Narain) is still looking for a job! Nathan, on Deepti’s pleading, gets him a good job, which makes her more indebted to him emotionally; though he makes it clear he has no time or inclination for any kind of feelings or love.

Soon Deepti is pregnant, and when she goes to tell him that it is his child, he says –“every minute 7200 babies are born in the world!” Nathan does not bother to ask her anything, which slowly makes her lose her mental balance.

The film is a very sensitive and intimate trip through the human mind fraught with hidden minefields of hurt, rejection and fragile egos. The director, like in his earlier films, plumbs the depth of human mind. This time, he examines the threads that hold a marriage together, and the emotional and the physical dynamics that sometimes turn those ties into shackles that oppress the soul and sour a relationship.

As a writer and director, Shyamaprasad narrates the plot like a European art film of the seventies. His target audiences are the matured adults. There are symbolisms galore as his central character Deepti is torn apart from her sense of guilt. The director makes no attempt to sit on judgement on the choices of the characters and none of the players are conveniently killed to come up with an easy conclusion.

What makes the film stand out from other Malayalam films that have timidly tiptoed through a sensitive subject like infidelity is that no excuse is offered to Deepthi to justify her liaison with Nathan. The climax will leave the traditionalist in a fit of rage and confusion.

Mammootty as Nathan is brilliant; he presides over the film like a torch whose burning is invisible to everyone but the viewer. Brooding and understated, he is terrific. Meera Jasmine’s portrayal of Deepti, a woman suffering from guilt pangs, succeeds in conveying the various mood swings and frailties of the character, and is one of the best roles she has done so far. Narain puts in a restrained performance as Jayan the husband who never knows that his wife cheated on him! Ramya Krishnan as Bella has walk-in role, which she does adequately.

Technically the film is well crafted, with Azhagappan’s camera being the highlight. Azhagappan had a tough job, it was not the scenic locale but the intimate relationship and its emotional conflict within the confines of a flat, where the lead characters dwell that he had to shoot. He has done wonders with the camera which gave expressions to the director’s thoughts, with great lightings and close-up’s of the protagonists. The art director Muthuraj's sets and interiors of the flat and Bella’s bar are superb.

Shyamaprasad has made a film that is contemporary and valid, though its too arty and at times moves at a snail's pace. Still, these are minor blemishes in an effort that is supportable and well made. All in all, a perfect watch for connoisseurs of good cinema.

Verdict: Good
Offline Profile Quote Post Goto Top
 
-Sebil-
Member Avatar
~::THE ADMINISTRATOR::~
Admin
What happens when a person experiences lust, morality, guilt and love all at once? This is the question that director Shyamaprasad's new Malayalam film Ore Kadal tries to explore. The film is an adaptation of Sunil Gangopadhyay's Bengali novel Heerak Deepti, starring Mammootty, Meera Jasmine and Narein.

Deepti (Meera Jasmine) is a harried housewife tending to her sick son in the absence of her unemployed husband in an alien city. Her frantic pleas for help to her husband over a public telephone are overheard by Dr Nathan (Mammootty), a renowned social scientist, whose current interest is the unemployment among middle class youngsters. He helps Deepti with her son, and takes the child to a hospital.

Nathan is an alcoholic, who does not believe in emotional attachments. He is so haughty that he explains to his female companion Bela (Ramya Krishnan) that he helped Deepti not because he was attracted towards her but her husband and child made an interesting subject.

Eventually, he has a fling with Deepti. Nathan likes to believe that it just a physical thing, but Deepti desires something more. She is devastated when she learns about his feelings, and starts distancing herself from Nathan. What happens next forms the core of the film.

The way the director tackles this sensitive subject is fascinating. He does not try to superfluously bridge the chasm between the intellectual Nathan and the na�ve Deepti. But he gives them space to find a common ground for themselves without making it look too far-fetched. The other factor that enthrals us is the way Nathan deals with the loss of Deepti. It is never clear whether he feels guilt on hurting her or is he experiencing the throes of love.

The husband's character -- played by Narein -- is not well-etched. But that may be intentional as his frivolous attitude towards his wife and child may be one of the reason why his wife seeks the love of an older man, whose words do not make sense to her.

Bela, on the other hand, is mirror to Nathan's heart. She explains things that are beyond his comprehension or the things that he refuses to acknowledge.

Mammootty, as Nathan, seems to be living the role -- the drunken swagger, the slur, the intellect all complement the snobbish characteristics of the protagonist.

Meera Jasmine as Deepti, the young mother and wife, who is expected to be mature before her age, is aptly cast. Deepti behaves maturely, yet maintains her adventurous streak.

Ore Kadal is a tale that refers to love that is not pure and pristine as films want us believe, but love that includes lust and guilt.

Rediff Rating: 3.5/5
Offline Profile Quote Post Goto Top
 
jayamurali

ACTIVE MEMBER
i think it is a very different story line..and of course shyamprasad is one of the brave directors in malaylam who goes for good movies rather than something of mere commercial value..
thanks for the info....
Offline Profile Quote Post Goto Top
 
ashi

ACTIVE MEMBER
Thanks Sebil.I haven't watch this movie.I feel this is a different story.
Offline Profile Quote Post Goto Top
 
sidh

Members
Sebil@KK.com
Aug 30 2007, 12:00 PM
Ore Kadal Posted Image Movie Ore Kadal Director Shyam Prasad Producer Vindyan Music Ouseppachan Cast Mammootty, Narain, Meera Jasmine, Ramya By Moviebuzz Shyamaprasad’s Ore Kadal has a touch of class and is one of the finest movies told about relationships and the contours of the human mind. Shyam puts the institution of marriage under the scanner, and talks about the emotional turmoil that a person undergoes, that can make or break a relationship. What makes the film work is the top-of-the line performances of its lead actors. Mammootty shorn of his superstar mannerisms and Meera Jasmine’s life like performance, ably supported by Narain and Ramya Krishnan. The haunting background score of Ouseapachan creates the mood, as the story moves on a kaleidoscope of human emotions. The film is based on Bengali writer Sunil Gangopadhya’s classic “Heerak Deepti”. Shyam has changed the milieu from Kolkata of the early twentieth century to a modern metro. Though he does not identify the city by name it looks like the story is happening in Hyderabad, by the registration number of the vehicles used in the film. Dr S R Nathan ( Mammootty) is a renowned social economist, who is also a well known writer on the social inequalities in the country. He is basically a loner, alcoholic and a womanizer (whenever physical need arises!), who has a long standing relationship with a high class call girl Bella (Ramya Krishnan). Nathan has hardly any human feelings or emotions when it comes to matter of love. He is in love with himself, his work and says- “It’s economics that rules, not emotions”. But fate has something different for Nathan, when he helps a lady staying in his apartment complex with a sick child in arm, who has no money for treatment! Nathan comes to know that Deepti’s ( Meera Jasmine) husband is unemployed and she has no money even to pay her rent! ( Nathan: “In india the biggest problem that the middle class is facing is unemployment, there are 20 million unemployed people in the country.”). Soon Nathan takes a fascination for her, which ends in bed, nothing new to him, but it opens a whole new world for Deepti. She is drawn emotionally to him, as her husband Jayan (Narain) is still looking for a job! Nathan, on Deepti’s pleading, gets him a good job, which makes her more indebted to him emotionally; though he makes it clear he has no time or inclination for any kind of feelings or love. Soon Deepti is pregnant, and when she goes to tell him that it is his child, he says –“every minute 7200 babies are born in the world!” Nathan does not bother to ask her anything, which slowly makes her lose her mental balance. The film is a very sensitive and intimate trip through the human mind fraught with hidden minefields of hurt, rejection and fragile egos. The director, like in his earlier films, plumbs the depth of human mind. This time, he examines the threads that hold a marriage together, and the emotional and the physical dynamics that sometimes turn those ties into shackles that oppress the soul and sour a relationship. As a writer and director, Shyamaprasad narrates the plot like a European art film of the seventies. His target audiences are the matured adults. There are symbolisms galore as his central character Deepti is torn apart from her sense of guilt. The director makes no attempt to sit on judgement on the choices of the characters and none of the players are conveniently killed to come up with an easy conclusion. What makes the film stand out from other Malayalam films that have timidly tiptoed through a sensitive subject like infidelity is that no excuse is offered to Deepthi to justify her liaison with Nathan. The climax will leave the traditionalist in a fit of rage and confusion. Mammootty as Nathan is brilliant; he presides over the film like a torch whose burning is invisible to everyone but the viewer. Brooding and understated, he is terrific. Meera Jasmine’s portrayal of Deepti, a woman suffering from guilt pangs, succeeds in conveying the various mood swings and frailties of the character, and is one of the best roles she has done so far. Narain puts in a restrained performance as Jayan the husband who never knows that his wife cheated on him! Ramya Krishnan as Bella has walk-in role, which she does adequately. Technically the film is well crafted, with Azhagappan’s camera being the highlight. Azhagappan had a tough job, it was not the scenic locale but the intimate relationship and its emotional conflict within the confines of a flat, where the lead characters dwell that he had to shoot. He has done wonders with the camera which gave expressions to the director’s thoughts, with great lightings and close-up’s of the protagonists. The art director Muthuraj's sets and interiors of the flat and Bella’s bar are superb. Shyamaprasad has made a film that is contemporary and valid, though its too arty and at times moves at a snail's pace. Still, these are minor blemishes in an effort that is supportable and well made. All in all, a perfect watch for connoisseurs of good cinema. Verdict: Good

would like towatch this movie..... Thanks


Offline Profile Quote Post Goto Top
 
sidh

Members
Sebil@KK.com
Aug 30 2007, 12:00 PM
Ore Kadal Posted Image Movie Ore Kadal Director Shyam Prasad Producer Vindyan Music Ouseppachan Cast Mammootty, Narain, Meera Jasmine, Ramya By Moviebuzz Shyamaprasad’s Ore Kadal has a touch of class and is one of the finest movies told about relationships and the contours of the human mind. Shyam puts the institution of marriage under the scanner, and talks about the emotional turmoil that a person undergoes, that can make or break a relationship. What makes the film work is the top-of-the line performances of its lead actors. Mammootty shorn of his superstar mannerisms and Meera Jasmine’s life like performance, ably supported by Narain and Ramya Krishnan. The haunting background score of Ouseapachan creates the mood, as the story moves on a kaleidoscope of human emotions. The film is based on Bengali writer Sunil Gangopadhya’s classic “Heerak Deepti”. Shyam has changed the milieu from Kolkata of the early twentieth century to a modern metro. Though he does not identify the city by name it looks like the story is happening in Hyderabad, by the registration number of the vehicles used in the film. Dr S R Nathan ( Mammootty) is a renowned social economist, who is also a well known writer on the social inequalities in the country. He is basically a loner, alcoholic and a womanizer (whenever physical need arises!), who has a long standing relationship with a high class call girl Bella (Ramya Krishnan). Nathan has hardly any human feelings or emotions when it comes to matter of love. He is in love with himself, his work and says- “It’s economics that rules, not emotions”. But fate has something different for Nathan, when he helps a lady staying in his apartment complex with a sick child in arm, who has no money for treatment! Nathan comes to know that Deepti’s ( Meera Jasmine) husband is unemployed and she has no money even to pay her rent! ( Nathan: “In india the biggest problem that the middle class is facing is unemployment, there are 20 million unemployed people in the country.”). Soon Nathan takes a fascination for her, which ends in bed, nothing new to him, but it opens a whole new world for Deepti. She is drawn emotionally to him, as her husband Jayan (Narain) is still looking for a job! Nathan, on Deepti’s pleading, gets him a good job, which makes her more indebted to him emotionally; though he makes it clear he has no time or inclination for any kind of feelings or love. Soon Deepti is pregnant, and when she goes to tell him that it is his child, he says –“every minute 7200 babies are born in the world!” Nathan does not bother to ask her anything, which slowly makes her lose her mental balance. The film is a very sensitive and intimate trip through the human mind fraught with hidden minefields of hurt, rejection and fragile egos. The director, like in his earlier films, plumbs the depth of human mind. This time, he examines the threads that hold a marriage together, and the emotional and the physical dynamics that sometimes turn those ties into shackles that oppress the soul and sour a relationship. As a writer and director, Shyamaprasad narrates the plot like a European art film of the seventies. His target audiences are the matured adults. There are symbolisms galore as his central character Deepti is torn apart from her sense of guilt. The director makes no attempt to sit on judgement on the choices of the characters and none of the players are conveniently killed to come up with an easy conclusion. What makes the film stand out from other Malayalam films that have timidly tiptoed through a sensitive subject like infidelity is that no excuse is offered to Deepthi to justify her liaison with Nathan. The climax will leave the traditionalist in a fit of rage and confusion. Mammootty as Nathan is brilliant; he presides over the film like a torch whose burning is invisible to everyone but the viewer. Brooding and understated, he is terrific. Meera Jasmine’s portrayal of Deepti, a woman suffering from guilt pangs, succeeds in conveying the various mood swings and frailties of the character, and is one of the best roles she has done so far. Narain puts in a restrained performance as Jayan the husband who never knows that his wife cheated on him! Ramya Krishnan as Bella has walk-in role, which she does adequately. Technically the film is well crafted, with Azhagappan’s camera being the highlight. Azhagappan had a tough job, it was not the scenic locale but the intimate relationship and its emotional conflict within the confines of a flat, where the lead characters dwell that he had to shoot. He has done wonders with the camera which gave expressions to the director’s thoughts, with great lightings and close-up’s of the protagonists. The art director Muthuraj's sets and interiors of the flat and Bella’s bar are superb. Shyamaprasad has made a film that is contemporary and valid, though its too arty and at times moves at a snail's pace. Still, these are minor blemishes in an effort that is supportable and well made. All in all, a perfect watch for connoisseurs of good cinema. Verdict: Good

link undo.......
Offline Profile Quote Post Goto Top
 
kk_fan
Member Avatar

ACTIVE MEMBER
thanks man
Offline Profile Quote Post Goto Top
 
nishant20

Members
thankssssssssssssssssssssssssssssssssss
Offline Profile Quote Post Goto Top
 
jolly mathew

Members
thanks for the review
Offline Profile Quote Post Goto Top
 
1 user reading this topic (1 Guest and 0 Anonymous)
« Previous Topic · Movie Reviews · Next Topic »
Add Reply