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Dadasaheb (Malayalam) (General Movie ,2001) Starring |
Review
Everyone in the Malayalam film industry cries Malayalam cinema is dying.
Recent releases offer little hope Malayalam cinema’s rejuvenation. If on hand, Malayalam cinema is defaced by soft-porn movies, on the
other films with little cinematic sense robs off Malayalam cinema its name and fame.
Dadasaheb, one of the recent releases, is having a good run in the box-office. But Dadasaheb also profiles Malayalam
cinema’s losing identity. The success of Shaji Kailash’s Narasimham and Valiyettan epitomized Malayalam cinema adapting
itself into a la Tamil style (Read creating larger than life stars out of successful actors). One can’t help but remember those
veterans like Padmarajan and Bharatan who gave Malayalam mainstream cinema its distinguished identity which was conspicuous by its
aesthetic beauty.
Vinayan, fresh from the phenomenal success of Vasanthiyum, Lakshmiyum pinne Njanum, in Dadasaheb is also attempting
style that is alien to mainstream Malayalam cinema. But surely Vinayan’s this trend will do more harm than good to Malayalam cinema
primarily because it has got more to do with the commercial aspects of cinema than the artistic aspects.
To tell the story of a father-son duo, who are victimized by the vested interests in society, Vinayan packs Dadasaheb with a
lot of colors, including national tri-color, guttural dialogues, breathtaking actions, songs etc. After the unprecedented success of
Mani Ratnam’s Roja, many upcoming directors in India have got this illusion that picturesque locations in the their films make
up for the directorial lapses or faults in scripts. His another film Bombay has set another wrong precedent— mix recent history
or contemporary events with the storyline and play to the gallery. In Dadasaheb, Vinayan skillfully uses both these Mani Ratnam
technique.
Vinayan’s Dadasaheb, a Muslim and a war hero, is a super patriot. His son Subedar Abubacker is a patriot in every inch too. In reel
life it is but natural for him to fall in love with a high caste Hindu girl. When everything goes fine for them, local politicians
play mischief with them. The father-son duo is labeled as anti-nationals. Vinayan once again borrows a tested Mani Ratnam
technique—high-pitch melodrama. Subedar Abubacker is given death sentence, his mercy petition is rejected and the entire country
craves for the blood of Dadasaheb and Abubacker. It’s then that Dadasaheb, having nothing to lose now, gets ready for the battle of
his life. In between Vinayan doesn’t fail to employ lots of spices like anti-nationals operating under patronage of rulers, and dance
scenes with countess artistes.
There may be people who praise Mammootty’s performance (he is in double role, Dadasaheb and Subedar Abubacker). He may satiate the
hardcore Mammootty fans as well. But a discerning audience would notice that Mammootty’s different faces in the film come across as
cliched ones. We have seen this Mammootty in innumerable films since New Delhi. It’s time this gifted actor chose his roles
more judiciously.
The rest of cast includes Sai Kumar, Rajan. P Dev, Babu Namboodiri, Athira (new face) etc. Though Dadasaheb is an out and out
Mammootty film, Sai Kumar sparkles as the villain.
Camera is by Sanjeev Sankar and editing by G.Murali. They have ably assisted Vinayan in his attempt to do a Mani Ratnam act. Producer
Sargam Kabeer is laughing his way to the bank too.
But the loser is Malayalam cinema. The appreciative standard of Malayali audience is also dying with Malayalam cinema