Johny Johny Yes Appa Review
Director G. Marthandan attempts to create a humorous milieu for the vaguely written story of 'Johny Johny Yes Appa'. The lighter side somewhat gels with the premise but the emotional part gives a heavy bewilderment in the justification of certain events. Marthandan hinges on the sentimental conflict of relationships and he succeeds only in a few areas. There is ambiguity in entwining incidents and this affects effective narration.
This family drama follows the life of Johny, played by Kunchako Boban, the second son of a retired teacher, Kariya (Vijayaraghavan). His elder brother Peter (Tini Tom) had been expelled from the house for marrying Archana (Veena Nair), who belongs to a different religion. Johny's younger brother Philip, essayed by Sharaf U Dheen, is a lazy engineering student. A petty theft in the childhood makes Peter the thorn in the flesh of his father. Interestingly, both the brothers are against Johny as Kariya and his wife, played by Geetha, take care of him owing to his 'ostensible' honesty and good name in the village.
Anu Sithara plays Jaisa, the daughter of businessman Jose (Kalabhavan Shajon). She is head over heels in love with Johny. When Adam (Sanoop) comes to the life of Johny, the plot moves towards a grave and sentimental route, which appears to be trite and insipid by all means.
There is a subplot in which you are told the life of a death row prisoner, played by Mamta Mohandas. The infatuation of Adam towards Nandana (Anikha) does not make much impact in the proceedings of 'Johny Johny Yes Appa.' Lena appears as Sujatha, the Prison Superintendent, towards the fag-end of the film.
Tinged with trivial humour, 'Johny Johny Yes Appa' offers a bumpy ride towards a tiring sentimental phase. The screenplay penned by Joji Thomas of 'Vellimoonga' fame has occasional spark of hilarious ripostes; sans helping the tale that has plenty of plotholes. Sometimes the one-liners give the feel of a misfit in a few sequences.
With little to fulfil in performance-wise, Kunchako Boban finds himself the task as usual. Johny astutely hides his real instinct from others: theft. Even after committing big robberies, he always escapes sans giving any hints to the police. Then the director tries to present him as a good Samaritan in helping Adam. The script loses its grip completely in the second half especially when the emphasis is being given for elucidating mother-son relationship. What Johny does here is hard to digest.
Unlike the protagonist, Tini Tom gets enough room for portraying the grievances of an ignored son. Actually, he eclipses the protagonist when the emotional quotient of the character is taken into consideration. Cinematographer Vinod Illampally and music composer Shaan Rahman have an ordinary outing while bringing out the aesthetic factors of their creativity.
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