| 1 | '''Thenmavin Kombath''' |
| 2 | |
| 3 | |
| 4 | 1994 164’ col/scope Malayalam |
| 5 | d/s Priyadarshan pc Prasidhi Creations |
| 6 | p N. Gopalakrishnan lyr Girish Puthencherry |
| 7 | c K.V. Anand m Berny, Ignatuis background |
| 8 | m Venkatesh |
| 9 | lp Mohanlal, Shobhana, Nedumudi Venu, |
| 10 | Kaviyoor Ponnamma |
| 11 | |
| 12 | |
| 13 | Frontier melodrama about Kerala’s Thazavad |
| 14 | manorial system which is based on matrilineal |
| 15 | kinship. Sreekrishna (Venu), the brother of the |
| 16 | Madambipura House’s leader, Yashoda, is |
| 17 | extremely friendly with his servant Manikan |
| 18 | (Mohanlal). Another servant, Appikala, envious |
| 19 | of Manikan’s favoured status, is the film’s |
| 20 | official villain. The Madambipura House is |
| 21 | locked in an ancestral rivalry with the equally |
| 22 | large establishment run by Ganjimuda |
| 23 | Gandhari, which usually finds expression in |
| 24 | the bullock cart race at the annual Pongal |
| 25 | festival. Both Sreekrishna and Manikan fall in |
| 26 | love with the beautiful itinerant theatre actress |
| 27 | Karuthambi (Shobhana), causing Manikan to |
| 28 | briefly fall out of favour with both Yashoda and |
| 29 | the local law. The film’s camerawork adopts |
| 30 | the glossy style (diffusers and angled lighting |
| 31 | calibrated to the exposure of high-speed colour |
| 32 | stock) made fashionable by Tamil |
| 33 | cinematographer P.C. Sriram. Shot mostly at |
| 34 | dawn and dusk, the camerawork creates a |
| 35 | glittering fantasy world that in turn determines |
| 36 | both plot and performances. |
| 37 | |
| 38 | [[Film]] |