They say that "cinema is a reflection of society", and I'm of a particular notion that stories from different strata of society, whether morally righteous or morally grey deserve to be documented.
Trivandrum Lodge was one such film that provided a window to glance over, at how humans, just like us are perceived from the lens of reality. How they go to lengths to make ends meet, while grappling with their inner demons and explore themselves.
Within the film, where taboo subjects and thoughts are commented on, where in general they would be frowned upon in the public, Malayalam Cinema did well to keep up with the times, taking the liberal street in the process. A U-turn from the conservative approach, that embraced storytelling in it's rawest form.
A story of people with their quirks.
A story, woven around stories, woven around a lodge waiting to tell a tale.
Welcome to the world of Trivandrum Lodge
Character Sketch
Dhwani
Breaking away from a failed marriage, it was destiny that led Dhwani to the steps of Trivandrum Lodge. Harboring the need to experience her newly-found freedom, along with a yearn to fully absorb it with the escapades that it brings.
Being a character, with a taste for literature, the arts and a smoothness to match, it was something totally new to the audience. While discussing the new wave of Malayalam Cinema from the 2010's, this should be a character that should be mentioned more often, as it portrayed liberal women nicely.
Her interactions with each lodger brought forward a totally honest perspective, that many would struggle to keep under wraps. The script has explored the character's quirks - her sexuality and tastes, curiosity in otherwise ordinary humans, and a fascination to explore. Her prowess for dirty talk on the bed makes her more attractive, in a sensual and uninhibited way.
The camaraderie shared with Zarina and their interactions explore women from a non-conservative approach. How money, sexual chemistry and being the ideal woman intertwine to maintain a happy marriage.
Her interactions with Ravishankar and the slow realization on how much the one-woman man loved his wife, even after her death did definitely leave an impression. It could be laying a marker on the fact that a man never forgets his first lover and the bond leaving them happy like little school kids, with the music that it brings.
Abdu
Abdu's yarn could be a phase that would be relatable to all of us. The story of many, that would go unheard of.
Abdu's nonchalant outlook on life doesn't hide his thoughts and reactive nature. Keying the massage owner's car after enduring insults and consoling Dhwani's ex-husband after he breaks down show glimpses of this.
Sexual deprivation, a less discussed topic that's present in the social conscious is presented well in this film, through Abdu's conceptions of erotic fiction and it's cliches, even leaving the tried and tested Kanyaka amused.
I saw Abdu and not Jayasurya in this performance.
Korah Sir
A bit more of a controversial and an unconventional character played by P.Balachandran. The script goes to explore his sexcapades and probably serves as a microscope into the sexual fantasies that older individuals harbor within themselves.
Much like Dhwani, the way in which the character was explored, scripted and presented, was'nt like any other. Following the non-conservative route, it has helped carve more elderly characters with a grey shade, like Itty from Appan being a ready example.
The character's impeccable, incisive and eye for classifying women that he encounters, into the 4 types of women depicted in Hindu Mythology, further explores the intertwining of literature, namely Kamasutra to the topic of being, much more than copulation. Sweet.
The ever-present banter at the canteen table was an integral part of the old timer, whose closeness with fellow lodgers was also explored.
For someone who wrote scripts like Pavithram and Uncle Bun, this was totally unexpected and it was bold attempt by Balachandran to play a flawed elderly character with grey shades. This helped him and directors to explore his range in his acting career, giving us Kammatipadam in the process. Deserves an applause.
Source - YouTube
Korah Sir
A bit more of a controversial and an unconventional character played by P.Balachandran. The script goes to explore his sexcapades and probably serves as a microscope into the sexual fantasies that older individuals harbor within themselves.
Much like Dhwani, the way in which the character was explored, scripted and presented, was'nt like any other. Following the non-conservative route, it has helped carve more elderly characters with a grey shade, like Itty from Appan being a ready example.
The character's impeccable, incisive and eye for classifying women that he encounters, into the 4 types of women depicted in Hindu Mythology, further explores the intertwining of literature, namely Kamasutra to the topic of being, much more than copulation. Sweet.
The ever-present banter at the canteen table was an integral part of the old timer, whose closeness with fellow lodgers was also explored.
For someone who wrote scripts like Pavithram and Uncle Bun, this was totally unexpected and it was bold attempt by Balachandran to play a flawed elderly character with grey shades. This helped him and directors to explore his range in his acting career, giving us Kammatipadam in the process. Deserves an applause.
Whatever it takes
Kanyaka Menon
One of the underlying themes of the movie is the lengths to which people kneel to make it to another day.
The eye-opener encounter at Kanyaka's den makes it evident that she's out there, without a choice. A story hidden behind the faces serving in the flesh industry.
Advancement in advertising her profile on Facebook, in 2012's Facebook era was in both parts - amusing and interesting. Her character being drawn out throughout the movie - instilled with a sense to make a quick buck, the chance meeting with Thangal and eventually striking gold makes us want to root for her, from the hellhole that had stepped foot in.
Even through the proceedings, we notice that Kanyaka stays discreet about her conditions to her prospective clients. A rule that goes without saying in this specific industry, where temporary relationships and emotional attachments never mix and is a constant, like oil and water. The rawness of the character is played to perfection, taking people by surprise and subtly echoing the fact that some things are better left unsaid.
Thesni Khan delivered as expected and it sparked a deserved uplift in her career. Happy for her, as I have been witnessing her since her Kalabhavan and Cinemala days.
Shibu Vellayini
The character played by Saiju Kurup leaves us with a bad aftertaste, with the usual trope surrounding hype men from the film industry. Lending false hopes to starry-eyed up-and-comers, a tongue to match his heroics and showcasing the flawed human in him by indulging in the practice of casting couch - intertwining the vein of pleasure and exploitation.
The climax shows a satisfying closure to the viewer, about the character. His conditions doesn't seem to have improved and his now-wife Roslin berates him on not making her a star, as promised. His retort on making his child a superstar, shows us that his spinning yarn nature never fails to cease and amaze.
A little shoddy writing for his character, which could have been explored a little more. That's okay.
Well written post. Very inspiring, as someone who is also trying to improve his writing.Its been years since I've watched it, but I do remember how much of a taboo it was. A few adults at that time dismissed it for its crassness, while others praised it for being a part of the new gen progressive cinema. Fast forward to 2025 - VKP is still inconsistent as a director, Anoop Menon hasn't written a good script in years, Honey Rose is still underrated as an actress (and more known for her inaugurations), Jayasurya is still busy with Kathanaar and Saiju Kurup is everywhere.
ReplyDeleteThe songs still slap.