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Drishyam 2: George Kutty and Family Are Back

(Featured Image: Actor, Mohanlal with Director, Jeethu Joseph)

George Kutty with his wife Rani and their two daughters, Anju and Anumol, bring in a new saga of fortitude as the sequel of the critically acclaimed Malayalam film, Drishyam started streaming worldwide on Amazon Prime Video from February 19th. 

Remade in other south Indian languages as well in Hindi, Sinhalese, and Chinese, Drishyam was a game-changer not only for Director, Jeethu Joseph, but for the entire cast led by Mohanlal and Meena and supported by Ansiba Hassan, Esther Anil, Asha Sharath, Kalabhavan Shajohn, and Siddique. Jeethu Joseph had no inkling while scripting Drishyam – the first part – that it would lead him to a sequel. Post Drishyam’s release and with people discussing and creating their stories for a sequel, the production house asked him to consider its sequel in 2015. Although Drishyam was a closed plot, Joseph decided to explore it.  

“It took me four years to write Drishyam 2,” Joseph tells me over phone from Kerala. 

Drishyam 2 trailer hints at a police investigation probing again into the case of the missing Varun. The question in our minds is – How will George Kutty protect his family again?

“My challenge lay in the characterization and to ensure a continuity of the story. I met Lal ettan (elder brother) with my final draft. He wanted some clarifications. We ironed out few issues. The idea was to write a good story and to make good cinema. We were not thinking of its business prospects.”

Drishyam 2 examines how life has changed for George Kutty and his family over the past ten years. How did the trauma of Drishyam affect them? How does society view them? 

Drishyam 2 was shot last year during Covid times with social restrictions in place. New characters have been introduced in the sequel. The multi-faceted actor-director Murali Gopi is playing a police officer.

Is it ok for George Kutty to continue lying to protect his family?

Joseph tells me, “We can talk about that after the release of Drishyam 2.”

Meet George Kutty’s Daughters

Actress, Ansiba Hassan

Ansiba Hassan: “I am excited since I have not been in cinema for the last four years. Drishyam 2 is a comeback for me. In the first part, Esther (who played Anumol) had a significant role and the story was pivoted around Anju. Seven years have elapsed since then. Today, Anju is in college. She is a mature young woman but she is torn by guilt for having committed a crime. She always dreads being caught and is battling depression. She avoids people and prefers to be with her family at home. Much as she wishes to laugh and enjoy life, the ghosts of the past restrain her from living in the present. She is unable to laugh to her heart’s content and is very sad. My challenge lay in bringing to the fore Anju’s remorse while appearing happy on the outside.” 

Actress, Esther Anil

Esther Anil: “Getting back to the sets was a good feeling after being indoors during the lockdown. It gave us hope in the industry. Anumol in Drishyam 2 is studying in class 12. And, this teenager is often in an argument with her mother. In part one, Anumol had much significance but not so in the sequel. Drishyam 2 is about the family and their bonding. Anju was affected by a situation in Drishyam and the family is living with past trauma. My role cannot be compared with that of Ansiba chechi (elder sister). I have as much space as in part one. In the sequel, the emotional connection of the family has been retained well.” 


Mythily Ramachandran is an independent journalist based in Chennai, India with over twenty years of reporting experience. Besides contributing to leading Indian and international publications including Gulf News (UAE), South China Morning Post, and Another Gaze (UK), she is a Rotten Tomatoes critic. Check out her blog – http://romancing-cinema.blogspot.com/ 

Paava Kadhaigal: Of Love, Lies, and Betrayal

Even if the four-part anthology, Paava Kadhaigal, was made up of just one segment, Sudha Kongara’s Thangam may just have been sufficient to capture its all-encompassing theme. There’s the unlikely love triangle involving a sibling and a best friend, there’s unrequited love that forms the emotional core of the film, and the forbidden inter-faith relationship between its two principal characters. But despite having a heavy agenda, Kongara doesn’t appear to bite off more than she can chew. The movie effortlessly chugs along like a Malgudi Days’ tale, and tugs soulfully at our heartstrings. Along the way, the movie brings to the fore a heartbreaking reality that while families may eventually reconcile and accept their children, when it comes to letting a human being choose their gender, the world remains a massively one-sided place

The Confirmation Bias

If Kongara’s film touched multiple themes, Vignesh Shivan’s segment Love Panna Utranum handles several genres in one slick segment. There’s horror when we see a loved one electrocuted, drama when we witness the evil machinations of a leader and his crooks, and finally, delightful humor when the man’s lieutenant struggles to say the L-word (I fell off my chair watching him mouth ESPN repeatedly; Jaffer Sadiq as Narikutty is fantastic). But while Shivan deserves credit for his creativity, I found the transition from mournful moments to comic situations a little too jarring for a short film. Shivan redeems himself with a clever trick in the end though when Penelope (Kalki Koechlin) calls and talks to Narikutty looking at her phone while driving. I wondered if she was staring at the camera and calling the bluff on the viewers and their confirmation bias; early on in the movie, we see two characters lying on a bed, and begin to assume the nature of their relationship. “How dare we?” Shivan appears to ask. I’d like to think that the friendly cuss word is for Narikutty though.

The Judgment

If there’s one thing about Gautham Menon and his movies, it is that he makes them with his heart. While they are rough at the edges, one cannot help but note they have a soul. Ditto with Vaanmagal, a segment that most viewers would relate to considering today’s life and times. It deals with a middle-class family’s worst nightmare, one in which a girl whose hormones haven’t kicked in yet is mercilessly attacked. While most filmmakers would deal with the event itself and the trauma that the victim would undergo, Menon chooses to focus on the reaction of her family instead. There’s the father (Menon himself), who personifies guilt and cannot bring himself to look at his daughter in the eye, hanging his head in shame as a man. There’s the mother (Simran) whose character is used as a pivot to deliver a message to all parents (the use of the shot atop a hill may be manipulative in the trailer, but bears significance in the movie). And the brother, the instrument responsible for restoring parity in the film’s most defining moment. No lives are lost, and yet, Menon’s segment remains the only one in the film that delivers closure for a victim.

The Great Betrayal

The final act of Paava Kathaigal fittingly falls in the hands of Vetrimaaran, one of the finest filmmakers in India today. Narrating the story of a father-daughter relationship gone sour in Oor Iravu, Vetrimaran cuts back and forth between the past and the present, culminating in the baby shower that the father (the seasoned Prakash Raj) arranges for his daughter (a fine Sai Pallavi) as a way to make amends. Vetrimaaran shows us his finesse in dramatic thrillers, by bringing every frame to life and letting every scene breathe. Take, for instance, the scene when a character heads from the courtyard to the kitchen for a jug of water. The camera follows them and stops just at the doorstep. The character takes a fractional moment longer to return, in what seems like an eternity to us. It’s a bone-chilling finish, one that involves a murder without a weapon, but punctuated by the cries of two women locked in different rooms. Cries that echo in our ears long after the credits roll by. Chilling indeed…take a bow, Scorsese of Tamil Cinema!


Anuj Chakrapani loves cinema and believes movies, like other forms of art, are open to interpretation. And when you begin to interpret, you realize that the parts are more than the sum. Adopting a deconstructionist approach, he tries not to rate movies as “good” or “bad”, instead choosing to capture what he carries away from watching them. Anuj lives in the SF Bay Area and works for a large technology company.