Irupathi Onnaam Noottandu Review
Arun Gopy's second directorial offers a subject that is hardly alien to anybody. With Pranav Mohanlal in the lead, the director depicts him as a professional surfer on the picturesque beaches of Goa. Paranv plays Appu, son of former don, named Baba (Manoj K Jayan). Arun, who is also the scenarist, prefers 'Irupathiyonnam Noottandu' as a romantic thriller to a don story.
The initial premise of an underworld digresses to a new milieu, which is infested with familiar and drab romantic overtures. Appu's meeting with Zaya, played by Zaya David, marks the beginning of an unsavory setting in which the protagonist absorbs an uninspiring mien and vitality. On the surface level, the tale ridicules the media and exposes social problems in the modern society. The socio-political commentary of the filmmaker fails to yield any significant result due to the lack of an intense perspective. It's feeble filmmaking to be precise, largely rescued by powerful and rich visuals of Abinandhan Ramanujam.
The dilemma of Zaya is a promising element in 'Irupathiyonnam Noottandu' and it could have been explored adequately in an intriguing manner. The characterisation of Zaya has glimpses of a genuine effort but it is way over the top. Hailing from an orthodox Christian family, Zaya has been seeking solace since her childhood. Her father Eeppan Koshy (Sureshkumar) fails to realise her real problems.
Zaya gets along well with Appu's family in Goa while in search of her joy of freedom. The invisible fetters around her are her woes but she finds happiness in the company Appu and his friends. When the action shifts to Kerala, Appu's attempts to see her, in short, become a conscious mockery of your senses.
The visual effects in the climax are pretty far away from satisfying the sensibilities. Manoj's Baba has every reason to relax as a drunkard and an oppressed former don. Though born to a former don, Appu wishes for a peaceful life. Pranav moves along comfortably in the adventurous sequences than lending a confident touch to the character. His challenges are grave but the execution is flawed, and it's ordinary in most parts. The consistent slipshod approach sullies 'Irupathiyonnam Noottandu', which, inevitably, turns out to be a package of a trite love story and trivial situations.
The travesty of the plot creates inevitable dents in the flick and submerges it into the depths of monotony. Characters look baffling with their soulless dialogues in most scenes that are contrived to an extent. Racy occasionally and heavily panting at decisive junctures, the movie falls on the land of stupor to extend the insipid moments. In fact, this tale is devoid of the wings of this century to make a confident flight.
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