What a fantastic film it was..was like a novel :). The movie is about a man who trying to find the happiness by giving it to the peoples who can't imagine it. Dulquor and parvathi was lively, wonderfully lived in their characters. Also there was a lot of characters who touches my heart. I am slowly become the fan of Malayalam movies, They are giving the real life movies.

Alphonse Puthren’s Premam, a phenomenally super hit Malayalam film that captures the beautiful landscapes of Aluva. The film portrays the journey of George David , a poignant love journey which begins from the teenage love for the most attractive girl Mary. The film belongs to the genre called period film which shows the different phases of George’s life.

It should be stated in no uncertain terms that the kind of filmmaking style, especially the one that projects the post-millennium teenage infatuation and then the youthful campus love and the final wrap up of George David's story in a happily ever after married life, is highly innovative and energetic. The romantic fantasy screen that is unfolded in the film is that of a male gaze, a rather refined Malayali (hereafter mallu) male gaze .The innocuous romantic teenage gaze remains unreciprocated. George David’s teenage heart hankers after the extraordinarily beautiful girl Mary. She has got plenty of followers in the locality. Here teens are shown as love-sick chocolate chaps. They are immature lords of the fantasy world of love. Being the most attractive girl, Mary happens to be everybody’s heroine, everybody’s heartthrob. To everybody’s collective frustration, Mary is already in love with a boy. The chapter of first love closes here. George’s second love blossoms forth with the arrival of Malar, the young lady guest lecturer. She is very kind and considerate towards her students. It can be easily inferred that Malar who have almost been exalted into a popular Mallu prayer song (Malare Ninne Kaanaathirunnaal), is an upper caste Tamilian with a cosmopolitan bend of mind. She is at once modern and traditional with her flair for modern breakdance and with her taste for the exquisite Hindu traditional feminine adorations like sandal mark for the forehead and jasmine flowers for the long hair.

In Malayalam cinema, campus is the typical space of the masculine social transgressions. Society outside campus space is full of norms and morals. There are several moralists who argue that loving a teacher is a big sin. The film shatters such moralism in its steadfast duty to the illegitimate love of George David as opposed to the legitimate love of Vimal Sir, the colleague of Malar. Here George attains a novel sensorium of experience, the ineffable ecstasy of love. Bringing a turning point, there arise an alibi for separating the inter-caste and inter-state love between George and Malar. Malar met with an accident and plunged in the unfortunate situation of memory loss. George has to cut down his second love at this crucial moment. In the final phase, we witness the third love of George, the self-restrained love of George who has attained adult maturity. She is none other than Celine who happens to be the young companion of his first love Mary. The film ends by showing the happy faces of the newlywed couple: George David and Celine. Though the storyline sounds all too familiar, it is the mode and the form of the storytelling that renders the otherwise simple and light-hearted content of the film profound and palpable.

On the whole, the film offers a very resigned risk-free zone of conjugal life. Every struggles of love are thus resolved in such a way that a matured conflict-free family life is guaranteed. All the adventures of love are suspended in favour of the established mallu adult maturity. Though the presence of conventional moralists preachers are ridiculed in the movie, the presence of modern moralist preacher called soft-skill trainer is very much present in the film. The film is indeed proposing a big moral lesson. Love failures needs to be treated as training ground in the great journey towards marriage. Finally, marriage is constructed as a safety valve against the fickle-mindedness and perils of wayward love. The film does not show the life after marriage.

The "scene contra" song brings to the fore the typical reaction of frustrated mallu boys in the form of warning and consolation.Being a hilarious friendly advice,this song appears as a double negation.Celine rejects David's proposal as she is already engaged to another person.She has no other option but to reject his proposal. Then there is a negation love as such in the song. Thus, there is a negation of a negation.Nevertheless, this negation of negation is also an affirmation of a disavowed attachment. David's friends are not just trying to console David. This song can be read as an exhortation to reject heterosexual love's labour in general.It can even be observed that the song makes a veiled plea for homoerotic love which is stable and secure, for the homosocial male bonding would never be perceived as the unnatural form of relationship.The lines “Avalu Vendra, Evalu Vendra Ee Kaanunnavalmmaaronnum Vendra, Love Vendra, Namukku Vendra ( Dude, you don't need this chick, you don't need that chick and we don't need any of these chicks and we don’t want love) can be interpreted in this way too: We guys(or gays?) don't need heterosexual love. We boys don’t need to waste our valuable time running after a girl. It is always a risky endevour. A girl's love is always uncertain and untrustworthy as she is already guarded by traditional forms of parental authorities.Instead of getting trapped into such dangerous situations, we can be content with our homosocial male bonding.Thus, the song is not just an advice to the love-sick boys to abandon their futile struggles to win the heart of the haughty chicks.

In the final phase, we see George David in the position of the proprietor of a well-maintained café named Agape. This is a cosmopolitan café where only the elite sections gather. Where did he gather the money to build such a big luxurious café? The source of investment is not revealed in the film. Also, the film presents an internal critique of the old authoritarian capitalist model where the profit-hungry capitalists treat their workers like slaves. Unlike the old authoritarian capitalists, George is very friendly with his workers and he takes offence when his assistant manager Jojo calls him “Muthalali”(capitalist entrepreneur). Alongside this, the film caricatures the old symbolic authorities like the flirts, the official language, the patriarchal father, the church, the teacher, the police who arrests the youngsters for wearing the Bob Marley T-shirts, the government that increases the price of petrol and so on and so forth. However, film produces newer forms of symbolic authorities in a subtle and sophisticated manner by way of embracing a normalized endogamous marriage towards the close of the film. Because of this, Premam’s butterfly is mentally normal. So is its Love.

Premam naturalizes the institution of marriage. Nevertheless, one striking feature of Premam is that the final narrative closure with the endogamous marriage offers a nostalgic space for nurturing the transgressive desire for an inter-caste and inter-state love. By marrying Celine who hails from his own faith community, George David elevates Malar as an absolute object of desire.

Jacobinte Swargarajyam is a nice movie which shows a greatness of father role in their children life. Every parents must watch this movie. How a business magnet Jacob who plays a role of very good father gets cheated by his servant and what happen after that is all the story about. The story travels around Jacob, his wife, his three sons and his daughter in Dubai. Very lovely to see Dubai and the movie is so lively. Swargam is none other than their family is the message they have shown finally and they have also displayed this movie is based on a true story.

Was so nice to watch nivin Pauly and Naziriya. A love cum action entertainer.

The film follows the life of Nivin Pauly (George David) and his romantic journey , right from his 16 years of age to early 30's. The journey starts with Anupama Parameshwaran (Mary George) then moves on to Sai pallavi (Malar) and finally ends with Madona Sebastian (Celine George) who is a sister of Anupama. All were acted so well in this movie. Very descent romance they have shown and the songs are so good to hear especially "Malare ninne" song and its my favorite one too. Overall the movie is filled with full of fun and entertainment. Can enjoy one more character in this movie viz Vimal sir who is a lecturer of George. Very funny role he played. About Sai Pallavi, her dance and expressions are awesome and she has done an excellent role in this movie. Nivin Pauly acting is outstanding. Superb movie it is. Thank you :)

First of all, I do not know exactly if DN is a Lal Jose movie or a Joy Alukkas movie. There are umpteen encounters with Joy Alukkas throughout the movie. One wonders, is the burden of tolerating the major commercial sponsor of the movie, a characteristic feature of the so-called new generation movies in Malayalam? As the movie begins, it is revealed that Dr. Arun Kumar (Fahd Fazil) is young, flirtatious guy and a spendthrift and that he has fallen for a Tamil village nurse, Lakshmi (Gauthami Nair).She is smart, beautiful, innocent and alas, poor. The director is attempting to portray a bold woman, when she asks Arun what he expects from her and makes it clear that she wants a serious relationship. Later we find them in a tamizhalam duet at the end of which they make love. However, under pressure from his mother, Arun gets married to another woman. Arun's giving into the wishes of his family is very much the norm in Malayalam movies where it is emphasized with very much ado that going against the parents for love will result only in tragedy. Here, rather than seeing it as merely an individual's confrontation, we should seek an answer to why Arun, an oncology specialist, chose not to marry the nurse. A matter of class, perhaps?

We do not have to wait long for an answer. The reason as it turns out is purely economic; in common parlance, dowry. One of the main reasons a woman is considered a burden is because of the expenditure incurred in her marriage. It is explicitly shown that Arun wanted a handsome dowry as he married Rajasree (Anusree). Just as the bride's father hands over the earnings of his life with pride, the misogynistic script directs Arun to condescendingly laugh at them, in turn drawing from the audience laughter that seems to reflect how they approve of such a feudal and chauvinistic practice. Through these scenes, the director and the script writer have not only supported dowry but also disrespected a profession instead of hailing that every profession is respectful in its own ways whether it pays in lakhs or not. This misogynist attitude does not end with the above dowry scene. Arun is dissatisfied with his wife mainly because he did not get as much a financial windfall as he had expected and her innocence and frankness that he so benevolently tolerates. Yes, the next thing that DN teaches us - women from villages are intolerable. This dissatisfaction leads to the extent of denying her a sex life, and the wife's agony is shown just in a passing glimpse.


Enter Maya (Samvrita Sunil), a cancer patient. We are told her boyfriend had ditched her after he learnt that she was dying. Maya's aunt now demands the ever-cheerful Arun to spread a smile on Maya's face as well. Well, our broad-minded hero happily accepts the offer and spreads cheer through their friendship. The twist takes place when Arun becomes homeless and Maya offers him a room in her apartment. I felt happy when I saw the concept of living together being taken forward in new and positive direction in Malayalam movies after its negative showcasing in Yathrakkarude Sradhakku, which told us that since the girl lived together with a guy, she had to get married to him alone. “Ha! At last, somebody has taken up the courage to overthrow the conservative concepts”, I thought. A momentary thought, I should say.

The later part of the film rolls around a diamond necklace, earlier shown in a couple of scenes. In the middle of the movie, we are treated to an extended Joy Alukkas advertisement where Joy Alukka comes and explains the purity and quality of jewellery in Joy Alukkas showrooms all over the world; the same show we witnessed in Kasthooriman. Finally, we see the ever broad-minded hero, Arun,handing over the original diamond necklace to Lakshmi as a financial aid because he was responsible for Lakshmi losing her job. Well, what else could Lakshmi do than accepting it, because he was once her lover and though he might have betrayed her, his assistance should be accepted, as he might be still caring for her. The down to earth tolerant and gentle hearted woman can only forgive the man and accept that diamond necklace as a consolation for his rejection rather than throwing it away. We also see Maya, who is a dying cancer patient, adopting spirituality. The society has been equating cancer to death though there are many cases where medical science could save many lives. In the place where it had to be shown that, science might save her life with her willingness to cooperate with the medicines and treatment, we see Maya leaving for a pilgrimage, perhaps out of guilt?

Anusree was able to bring the frankness of the village girl through her voice, but her lack of fine control over expression is evident. Gauthami enticed the audience with her eyes and a certain childish naughty expression and that was all. It is high time for Fahd Fazil to come out of his rather monotonous bad boy roles, though he did justice to his role with all the expected body language and expressions. I do not understand the logic behind calling DN a new generation movie. When the story line is still conservative and the politics is misogynist, why call it new? Where is the change that has come about? Is it in making Maya plead for sex? Or boldly showing pre-marital sex and condemning it later? Or affirming that sex will happen when a man and woman live together even as friends? Or re-affirming the conservative view of the land that, the woman loses when a couple has sex? Or that millions should be traded in the name of dowry? That spirituality can be preferred over science as a better treatment for a cancer? A new generation movie, if one claims so, should first question and attempt to uproot the conservative mentality of the society regarding gender relations.

‘Oru Vadakkan Selfie’ (OVS) is a fun oriented movie which you will love to see in theatres with your family. The story creates awareness about the cheaters in social network like facebook. Nivin, Aju, Manjuma , Vineeth were acted so well. Songs are awesome. Crying scene of Manjuma for his love is a herat touching one. I love this movie. Watch it. Surely will enjoy.