Bharathanatyam 2 Mohiniyattam TamilYogi Review: Something resonated when the warning about the harmfulness of smoking to health rang in the voice of Kalaranjini. This movie was not keen on doing the obvious. Such playful subversion is a perfect example of what Bharathanatyam 2 Mohiniyattam strives to achieve, a comfortable world slightly pushed into a darker, more alien realm without losing its rhythm. Director Krishnadas Murali brings back an established cast and allows them to do the work, and carefully raises the emotional stakes. The change to Sreekandapuram liberates the space, and makes the story slightly freer, with a sense of unease. It is still based on humour, yet a hint of a crime lurks about it without overwhelming the warmth. This sequel does not scream. It wins it by tone, rhythm and character.
The original instalment had developed a cult following following its online release, and this sequel comes with that subtle goodwill. Under the direction of Krishnadas Murali, the film revives such familiar faces as Saiju Kurup, Suraj Venjaramoodu, and Kalaranjini and develops the story in a manner that is both new and old.
The change of setting is an important aspect. The action of the story is set mainly in Sreekandapuram, leaving the previous rather limited family setting. The transition is smooth. The film does not appear to be straining to prove its presence as a sequel to an extent. Rather, it develops in a natural way, letting the remnants of the Bharathan Nair world to hang in the air, but bringing in new tensions. The story starts with Sasidharan setting up a house to Rukmini Amma and introducing the whole family into a new dimension. This arrangement which is already known in the trailer serves as a good background.
The film does not take time to reconnect with the characters since they have already been established. Such familiarity turns into one of its strongest assets. The text further develops on the relationships that are already there and presents new conflict situations based on situation. The tonal shift is the most outstanding. In contrast to the first movie, that was more of a situational comedy, this instalment veers towards darker comedic thriller. At its core is a serious crime, but it is always overlaid with humour, making the story easy to follow without watering down its investments.
The film is propelled by its ensemble spirit. It does not rely on one star performance but on group chemistry. The family relations are disorganized, shabby, and seem to be really comic. Sasidharan Nair, who plays the role of Saiju Kurup, holds the movie together. He also depicts anxiety and tension in such a manner that easily translates into humour, such that even tense situations have some lightness to them. Being aware that this is his 150th film gives his appearance a celebratory edge to it and that confidence can be seen in his acting.
Kalaranjini continues to be a joy to watch. She adds a lovable eccentricity that even the most overblown scenes seem to have been lovingly natural and not artificial. Among the most charming details is the first one when the usual smoking is harmful to health warning is given in her voice. It turns a typical dismissal into an unexpectedly entertaining thing, which works to set the tone.
One of the more recent additions is a good one, Suraj Venjaramoodu, whose performance is multi-layered. There are some subtle changes that transcend the superficial humour of his character as it unfolds. But he never lets the intensity take over the comic rhythm. His words, especially when he talks to his wife, show that he is very strict in his emotional switches.
The greatest surprise though, is Baby Jean. He is a new Subhash, and he is a refreshment that hits the nail on the head. His lines and on screen presence take even the mundane exchanges to a higher level. The fact that Abhiram Radhakrishnan comes back as the old Subhash at an important point, provides further interest, particularly to the viewers who are conversant with the earlier film.
The supporting cast, such as Nandu Poduval, Swathi Das Prabhu, Sruthy Suresh, Divya M. Nair, and Nisthar Sait, adds flavor to the film. They engage in communication in a natural way. Even those actors who have minimal screen time, such as Jagadish, make an impression. Although initially a bit of a weak spot, Vinay Forrt eventually becomes a welcome addition to the story and makes a decent contribution to the humour.
The writing is one of the strongest aspects of the film. Krishnadas Murali, and co-writer, Vishnu R. Pradeep, create a screenplay that ably knows its characters. The dialogue is brisk and subtle, and based on conversational humour as opposed to high-pitched punchlines. There are even emotional landings. Such a line as, Now you will understand its difficulty, has unexpected weight and adds to the affiliation with the family problems. The reactions of the audience are similar, which indicates the extent to which these moments are integrated.
There is also an indirect reference to the belief systems and social perceptions in the film. It is never preachy, but present ideas that create reflection. These themes are brought out in an observational manner, allowing them to be interpreted and not imposing conclusions. This gives it a little more depth to a simple dark comedy.
Technically, the movie stands its ground. The cinematography of Bablu Aju captures the setting in a tone that blends with the change in the story. The visual treatment is restrained to make sure that the darker themes do not overwhelm. The editing used by Shafeeque V. B. is at a constant pace, making the film interesting even when the story tends to get predictable.
The music by Electronic Kili is important in terms of sustaining tonal balance. Already in the background score, there is a rhythm created which concurs with the gravity of the crime as well as the comedy that is overlaid on the crime. The audiovisual design is unified and well-developed so that the one element does not dominate the other.
Nonetheless, there are weaknesses to the movie. To a large extent, the plot is foreseeable in case you have paid attention to the trailer. The first act is based on a common pattern, and even the denouement is hardly unexpected. The next step is very easy to predict and in most cases the movie takes the way that you would have expected it to take. It is overly evident that there is no strong wow moment or high intensity thrill that a person would anticipate with a dark comedy thriller.
This predictability notwithstanding, the characters make the film interesting. Their relationships coupled with frequent humour makes the story never boring. The comedy does not necessarily bring roaring laughter, but it maintains a constant smile. The emotional undertones, especially in the family drama, give it relatability that binds it all.
A tonal consideration exists as well. Although the movie is not gory explicit, its approach to a serious crime using humour might not appeal to the younger audience. The balance works successfully, however, with adult viewers.
Mohiniyattam is better suited to being more of a character-based extension than a plot-driven thriller by the time it finishes. It broadens the universe of the original film, plays with a darker tone, and preserves the quality that made the original interesting. It is not focused on cramming it with twists and spectacle. Rather it is about consistency and character.
It proves to be a gratifying viewing. Neither spectacular, nor sublime; but a movie which knows its own strengths and exploits them. When you sit down to watch it, hoping it will be a character-driven dark comedy with recognisable faces and entertaining scenes, then that is what you get.
Rating: 3.5/5
