Oru Kuttanadan Blog Malayalam Movie
In a remote village, there lived a noble and affluent man, who helped the needy so often. He was loved by most of the villagers until an incident prompt them to mistrust him. Now it's his onus to revive his innocence and good name. Writer Sethu makes his directorial debut with such a tale that is as old as the hills. The incidents are revealed through the readings of a blog, 'Oru Kuttanadan Blog,' by two people living abroad (Sunny Wayne and Ananya). Solving conflicts is a snap in the film as the director skims through the events paving the way for the protagonist to stand tall.
Hareendran Nair aka Hari, played by Mammootty, is a Gulf returnee, who decides to settle down in his village Krishnapuram at Kuttanad. A widower, he has a gang of friends in the village, played by Jacob Gregory, Sanju Sivram and Vivek Gopan et al. Hari is deemed to be a trouble-maker (you get the details only through the dialogues of his foes) by the panchayat president G.P. Nair (Lalu Alex) and some other people. Hari helps the needy with money and quite often with his direct personal assistance.
His opponents become suspicious of his moral side as he becomes a frequent visitor of his wife's sister Sujatha's (Swasika) house and a bed-ridden teacher's (Adam Ayub) house. He is very attached to Hema (Anu Sithara) the eldest daughter of this paralysed man. When Hari bumps into his childhood friend Sreeja (Raai Laxmi), he starts to dream of a second marriage. But things become complicated when Hari is accused of immoral behaviour by the villagers.
Shamna Kasim as police officer Neena Kurup solely helps make us fancy about her relationship with Hari. Her performance is too dramatic and lacks originality in most scenes.
Sethu's approach is pretty casual in unveiling the plot that only appears as a copycat of rustic themes. None of the scattered characters in 'Oru Kuttanadan Blog' creates any impact on the viewers, largely due to the poorly written screenplay.
Mammootty is just rehashing the character he has performed umpteen times. So, the scenes give the repetitive functions of a hero, who is a saviour, and he always shoulders any difficult task with ease. The incident associated with the character Sreeja is highly lackluster while the rest of the female roles hardly have any room to perform.
Sreenath Sivasankaran's music and Pradeep Nair's visuals are noticeable amidst the ploddingly narrated sequences. The formulaic elements in the tale fail to vindicate the inappropriately portrayed proceedings. Blaming of social media and the latest technologies appears to be crude and interestingly, the remedy for creating the soul of the conflict is attained through it. Obviously, the effect of this slipshod creation is dismal and ordinary.
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