Tag Archives: #malyalam

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/ 

Slick Malayalam Language Thriller “C U Soon”

The real deal

Having read the disclaimer about COVID-compliant measures during the making of C U Soon and with all the social media and dating app screen grabs at the start, I wondered if this was just a creative attempt at making a movie during these unprecedented times. But as it progressed, I found myself captivated by the movie and its memorable characters, told to us through the lens of computers and smartphones. While conventional cinema titillates us with manipulative slow-motion shots, C U Soon does it with long takes captured in real-time on static camera angles. When a gut-wrenching backstory needs to be told, conventional cinema would do it with flash cuts. Here, you see events organically unfold in front of our eyes through audio-video recordings on a social networking site. A few more movies like this one and I’ll find myself alien to big-screen cinema.

All things to all people

Steeped in realism, the movie itself works at many levels and has something for everyone.

For the drama purists, the movie is not just about a relationship between two youngsters who meet on a dating app, but also about a poignant one between a mother and a daughter that surfaces towards the end. Of course, there’s also the “supposed” father-daughter relationship that leads to the shocking twist in the end.

For the connoisseurs of Independent cinema, the movie resembles flawed everyday characters we encounter in our real lives. These characters talk over each other and argue endlessly; they type texts in their native tongue, in shorthand, and with typos. For the activists in us, the movie shines a light on the organized multi-national crimes that happen even in today’s day and age. C U Soon also carries a subtle message about class issues, what a cruel thing financial debt is, and how it can wreck innocent lives.

And for the thrill-seekers, this is a nail-biter from start to finish. When a soulmate doesn’t answer the phone, we start getting worried. When a character vanishes from the scene, our minds wander in a million directions searching for clues. And heck, never have I found myself fibrillating so much, glancing at the bouncing dots on a chat screen!

Fastest finger first

The movie is also a tribute to the gadget-happy generations of today. While it was heartening to see a movie centered around social media using emojis and emoticons so sparingly, its characters use creative ways to communicate instead. I was impressed by how often they use voice notes to reply. I guess it makes sense; it’s easier to hit a button once and speak your heart out rather than type scores of characters. The characters also never forget that their phones have a camera. A software engineer asks his mate if she is still at work, who responds with a stylish selfie.

The movie also tells us about the fast lives we live in, and how quick our reaction times need to be. Between watching a character speaking with a stranger on the phone about an invoice that needs correction, and the simultaneous texts to his beloved, alongside the confusing backdrop of the desktop screen, I was struggling to keep pace myself. Spare a thought for the man in the center of this 100-meter dash called life!

The missed experiment

It would be boorish to complement C U Soon merely as a brave experiment. It has the potential to redefine how Indian cinema is made, watched, and perceived. It’s also a universal example of how an effort with the highest level of conviction can find its way to fruition regardless of the circumstances. However, I wondered if director Mahesh Narayanan may have missed a trick with the use of the background score. Make no mistake, the background music supplements the scenes very well, but the movie may have been even more ambitious if he had eschewed the temptation to use background music. It may have just added an extra layer of authenticity to the experience. Maybe Mahesh can go the Iranian director Asghar Farhadi-way next time and go sans a background score. Until such time, we’ll savor this gem.


Anuj Chakrapani loves cinema and believes movies, like other forms of art, is 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.