Thomas Sebastian, whose earlier outings are Maya Bazaar and Jamna Pyaari, struggles with a rather tediously aimless script from Dhyan Sreenivasan, writes Deepa Antony.
Goodalochana, directed by Thomas Sebastian, is a tiring slapstick comedy trying to milk Malayalai’s penchant for wholesome boy-bonding and ‘bromance’ humour of the ‘Dasan and Vijayan’ era. The film, set in Kozhikode, is about four boys, Varun (Dhyan Sreenivasan), Prakashan (Aju Varghese), Ajaz (Sreenath Bhasi) and Jamsheer (Hareesh Kanaran), all jobless, mediocre, lazy bums who care about nothing but food. The boys trying to lazily implement their “mass cool idea” thought out halfway, one after the other fails, till they stumble upon a secret that changes their lives, makes for the story.
Thomas Sebastian, whose earlier outings are Maya Bazaar and Jamna Pyaari, struggles with a rather tediously aimless script from Dhyan Sreenivasan. After establishing the context and the plot the story drags on aimlessly only to be briefly rescued by the entry of Mamta Mohandas’s character Padma.
Hareesh Kanaran is the undisputed star of the entire cinema. His comic timing and repartees could be for posterity. He nearly single handedly provides the laughs that save the cinema. Right behind him are Aju Varghese who owns his character quite sincerely. Sreenath Bhasi and Dhyan Sreenivasan seem to be giving half-minded performances of no enthusiasm. It takes almost the end, towards the climax, for Dhyan to realize that he is to play the hero. Alencier Ley Lopez is as good as the script allows his character to be. Vishnu Govindan enters the story mid-way, out of nowhere and goes nowhere. Niranjana Anoop, the only other female lead apart from Mamta Mohandas, plays her meager role to the best of her ability. Mamta Mohandas plays a chic and sophisticated art curator with élan and class. She is definitely one to behold with her controlled and poise performance!
Set primarily in Kozhikode, the film unabashedly soaks in the color, flavor and sounds of the land, and that is a beauty to behold. The Koyikode song, used in the titles, had gone viral even before the release. Abhaya Hiranmayi beautifully lends her rustic voice to Gopi Sundar’s music placing it right into the heart of the cinema. The other song in the movie, Ee Angadi Kavalayil, sung and tuned by Shan Rahman is also a fun-filled happy song cementing the bromance. However, the background score for the movie seems lazy and naïve with just a few words repeated in a looped rhythm. With big names all over the film one expects slightly more than that creativity.
Goodalochana tries to fit in to the newfound list of movies from the Vineeth Sreenivasan camp (i.e, Malarvaadi Arts Club, Thattathinmarayathu, Oru Vadakkan Selfie) that were successful in their own right, albeit this one didn’t quite make the mark. It could well have been named ‘Malarvadi club’ reloaded, but isn’t, because why would anyone harm the memory of a film so dearly loved (However, they still have ventured out to boldly name the boys’ club ‘Malarvaadi’). Even Vineeth Sreenivasan narrating the story from start to finish doesn’t save the loosely packed story moving about aimlessly. A few loosely written in self-deprecating inside joke over the jimikki kammal song and referenced dialogues from Thattathinmarayathu and Malarvaadi Arts club are amusing and funny. But all these jokes don’t exact a compensation of the slack in writing especially for actors of such caliber.
reviewed byDeepa Antony
07 Nov 2017 | 06:25 PM
- directed by
- Thomas K. Sebastian
- Aju Varghese
- Dhyan Sreenivasan
- Niranjana Anoop