Changes between Initial Version and Version 1 of Avanazhi

Jul 17, 2012, 7:39:46 PM (9 years ago)



  • Avanazhi

    v1 v1  
     41986 156’ col/scope Malayalam 
     5d I.V. Sasi pc Saj Prod. s T. Damodaran 
     6c V. Jayaram m Shyam 
     7lp Mammootty, Geetha, Nalini, Seema, 
     8Captain Raju, Paravoor Bharathan, Thikkurisi 
     9Sukumaran Nair, Janardhanan, Jagannath 
     10Varma, Sukumaran, Sattar 
     13Sasi’s demented melodrama repeating his 
     14theme of corruption in Kerala politics (cf. 
     15Eenadu, 1982; Vartha, 1986), and seminal 
     16text determining Mammootty’s screen persona. 
     17He plays the police inspector Balaram, who is 
     18personally honest but not opposed in principle 
     19to corruption. Framed for the murder of the 
     20student Unni, who died in police custody, 
     21Balaram loses his girlfriend Usha (Nalini) and 
     22faces the enduring hostility of Unni’s sister 
     23Radha (Seema). The film’s key villain is the 
     24businessman and politician Vincent, whose 
     25partner, the corrupt lawyer Jayachandran, 
     26happens to be Usha’s new husband. 
     27Completing the key ensemble is the prostitute 
     28Seeta (Geetha), who was forced by the bad 
     29guys into prostitution and now lives with 
     30Balaram. In a relentless series of brutal 
     31encounters, personal vendettas merge with 
     32political rivalries. In the end, the true killer of 
     33the student turns out to be the politically 
     34influential murderer Sathyaraj (Captain Raju). 
     35Balaram hunts him down, and in the process 
     36becomes responsible for the killing of the 
     37pregnant Seeta. The most notable aspect of the 
     38film is its view of corruption as something that 
     39has seeped into every aspect of Kerala society, 
     40to a point where even the film is unable to 
     41restrict its subject-matter. The hero is presented 
     42throughout as essentially unpleasant, who 
     43warns Usha not to take up a job as university 
     44lecturer, and later refuses to acknowledge 
     45having fathered Seeta’s child. The film’s plot in 
     46both instances vindicates the hero’s stand (e.g. 
     47when Usha is attacked by a student) without 
     48making any effort to render it in any way 
     49morally palatable. Sasi’s usual alternative is an 
     50enormous excess of plot, as the complicated 
     51roles of different characters merge and 
     52interconnect to the point of vertigo. Like his 
     53other films, here too there are no neat endings, 
     54as the hero’s arrest (repeating an enhanced 
     55version of Don Siegel’s Dirty Harry, 1971) 
     56leaves the futures of most of the characters 
     57largely unresolved.