
Anpodu Kanmani Malayalam Movie Review
Anpodu Kanmani: A generic new-age social critique
Liju Thomaz's Anpodu Kanmani explores the societal obsession with immediate parenthood after marriage, portraying the emotional toll it takes on a newlywed couple while faltering in narrative depth.Liju Thomaz's Anpodu Kanmani delves into the emotional and mental struggles of a married couple, Nakulan (Ashokan) and Shalini (Anagha Narayanan), as they endure the probing and sarcastic queries of a society obsessed with pregnancy and parenthood. The film, set in the idyllic yet intrusive milieu of a Thalassery village, draws parallels with the 2024 movie Vishesham, addressing the plight of a childless woman subjected to incessant judgment disguised as concern.
Scripted by Aneesh Koduvally, the narrative revolves around Nakulan and Shalini's married life, highlighting the toxic, gossip-driven tendencies of their village community. After their wedding, Shalini becomes the target of relentless questions about her inability to conceive. The pressure mounts, culminating in a moment of uncontrolled anger when she throws hot tea on Nakulan's aunt during an argument. This impulsive act spirals into a public spectacle, exacerbated by social media, further isolating Shalini and intensifying her emotional turmoil.
Despite its uneventful storyline, Anpodu Kanmani succeeds in shedding light on society's sardonic approach to infertility and the burden placed on women. The screenplay captures the varying perspectives of those around the couple, from Shalini's mother-in-law, Rajamma (Maala Parvathy), whose behavior oscillates with the situation, to the intrusive commentary of villagers. The film touches on themes of spirituality, traditional remedies, and modern medical interventions, but its lack of a strong central conflict and overly simplistic narrative result in a soap opera-like execution at times.
The subplot involving Nakulan's friend Rafeeque (Althaf Salim), a father of three, offers a contrasting perspective. Rafeeque's humorous yet poignant disdain for unsolicited advice on family planning from the local Asha worker adds a layer of realism. Similarly, the hospital scenes and the unique prescription from Dr. Rajeev (Johny Antony) bring brief moments of interest, though they fail to significantly elevate the film's impact.
While the story doesn't break new ground, the performances bring a degree of authenticity. Ashokan convincingly portrays the perplexed and supportive husband, while Anagha Narayanan stands out as Shalini, capturing the emotional depth of a woman grappling with societal judgment and personal despair. Her nuanced performance anchors the film, lending credibility to its otherwise thin narrative.
The music by Samuel Aby, including a couple of well-composed songs and an effective background score, enhances the emotional beats of the story. However, the film's predictable climax and inability to create a compelling narrative leave it lingering in mediocrity.
In essence, Anpodu Kanmani is a heartfelt attempt to address the challenges faced by childless couples, but its lack of depth and refinement prevents it from becoming a truly engaging family drama.