Shammi’s wife Simi (Grace Antony), for instance, might be a common byproduct of Malayali families’ male centricity. Talking further about textured screen characters, Kumbalangi Nights sees them in abundance. He weeps and we get no option but to empathize. For once, he realizes that there could be someone to whom he could share the cloud of sorrow that he bred within. And Saji? In a heartbreaking scene, he pours his heart out to his therapist. Baby becomes the emotional anchor that he subliminally needed. For a fact, we know that it is his story. As their love story develops beautifully across clandestine meetings in what looks like a secluded island, Bobby gently transforms in her comforting company. A laggard in every sense, Bobby is immediately drawn into the vibrant Baby as if a little affection was all he desired in life. Out of the key players, it is Bobby who owns the highest stake in the plot with the contentious love story pinned around him. Later as the numbing mid-point twist causes a major blow in Saji’s life, we witness the film slowly revealing its secrets. There is also a deeply affecting stretch where the men meet their mother who is now an evangelist. Thoughtfully enough, he acknowledges that theirs is a family, however disjointed it is. “This is the worst family in the Panchayat”, declares Franky. They still do and they do not realize why. The brothers do not have a concrete reason to live in a family setup. Shyam Pushkaran’s screenplay – in ideal terms – is one about the members of a disoriented family that helps each other come-of-age.
He is goofy, somewhat pokey and, slightly comedic without pronounced hints of atypical devilry. Having said that, Shammi is not the routine villain either. A ball that reaches Shammi’s courtyard is not one to be retrieved easily. Likewise, in another attempt to mirror Shammi’s characteristics, the film throws a shine on the children who play football in the neighbourhood. While it is a courteous and an utmost normal gesture for the women to suggest him all of it, there is an unsaid peculiarity in the way he declines. One of them also offers to drop him off on the way. This is also the moment where you get another slice of Shammi via a friend of his who drops in to leave his motorbike. In his opening scene, Shammi is seen admiring his flawless face and well-cut moustache by the bathroom mirror. Hell does not break loose until the film introduces us to Shammi (Fahadh Faasil).ĪLSO READ: Varathan Review – a moody film that eventually drowns in a simplistic finale It is at this juncture that you see Bobby fall in love with a Hindu home stay organizer, Babymol (Anna Ben).
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He, for a fact, knows how to protect the youngest sibling who is in his formative years. The saner one at home is Boney who commands power within the house despite his inability to speak. They exist in the broken household, constantly bickering and quarreling with each other. Saji and Bobby are idlers in their own unique ways. It unfolds, layer by layer, without letting the complexities hit you like a thunderbolt.Īt home, Franky lives with his elder brothers Saji (Soubin Shahir), Bobby (Shane Nigam) and Boney (Sreenath Bhasi). Syam Pushkaran’s screenplay is not one that believes in putting all of its dysfunctionality right at the outset. Kumbalangi Nights, through its operative opening credits, takes a quick tour into this highly dysfunctional house. Franky wishes to take his friends home one day. His friends do not mind this revelation as much as he himself does. “Everyone at home is suffering from Chicken Pox”, he cites and stares at the ceiling. An exciting proposition otherwise is overruled outright by Franky. One of them suggests a plan to visit Franky’s (Mathew Thomas) home in the outskirts, followed by a trip to the famous Lulu Mall in the city. You see a group of teenagers playing football and later making plans to roam around Kochi city. The opening sequence of first-time director Madhu C Narayanan’s Kumbalangi Nights is set in a boys’ hostel.
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