And it is understandable, considering how Malik draws thematic inspirations from the Francis Ford Coppola film. The editing pattern of the murders in Malik’s third act bear a strong resemblance to the murder sequence in Godfather’s climax. This is a relatively more sophisticated way to pay homage to a film. In fact, Premam is filled with such explicit cues ( Neram, Commissioner, Guna to name a few). The second phase of Premam begins with a pitch-black screen, complemented by a dialogue from Rajamanikyam – “Thalle, kalippu theeranillalla!” I think this was not just a marker of the time the story is set in, but also a marker of George’s transformation from a pazham to an angry young man. Sometimes the makers add a familiar sound or visual element to add context to the scene.
The execution of this subplot makes one think how Arjun Reddy, sans glorification (read power-packed BGMs and slow-motion shots) was actually a total creep who had zilch idea about consent. The only difference is that in this satirical universe, the audience doesn’t take Ajith seriously. Ajith Menon is portrayed as a temperamental final year student in Sharanya’s college – a bad boy heartthrob-cum-genius. One of the subplots that really worked for me in Super Sharanya was the Arjun Reddy spoof, ie the Ajith Menon bit. I’ve tried to collate a few of these types below: Spoof/Social CommentaryĪ film can be used to put other films in perspective, and offer a commentary on the discussions they triggered. I was thinking of the various cases in Malayalam cinema where creators have referenced earlier works, and I realised that the purpose and mode of referencing were often different. And when done tastefully, it can really elevate a scene or a segment of the film.
I think the earliest filmmakers to have used referencing, did it as a mark of respect for any piece of art that inspired them. A string of unpredictable callbacks would have kept the audience guessing at every point it would’ve been a game that involved and entertained the masses – and would have actually resulted in Aaraattu being the unrealistic joyride that the makers promised. Now, imagine how amazing Aaraattu would’ve been if the writer had used references as narrative tools to progress the story (of course, for that they needed to first build a story but keep that aside for now). But how on earth are we supposed to enjoy scenes that look so contrived and add zero value to the plot? The buildup to such scenes leaves no space for guessing, resulting in what I’d call the “premature ejaculation of mass”.Īlso Read: Will Masala Films Survive the Content Revolution? Just show your love for Lalettan and cheer at every turn”, Udayakrishna is probably saying. When we see Balettan whose legs are paralysed, we wonder what reference the makers have up their sleeve – Chandralekha comes to mind but the context is way too different to be a subject of parody here, and we move on – but lo and behold! Gopan begins to croon Thamarapoovil – it’s a Chandralekha reference indeed. If you feel this was forced, let me remind you that a character was named Balettan just so the makers can play a modern cover of the Baletta theme song when Gopan is on his way to see Balettan. Soon enough, he takes a dip at the pond and again, we know it’s going to be a Narasimham reference. A few moments later, Gopan is walking through a corridor and he stops by the window to one of the rooms, inspecting a sound… and we know it’s going to be a Nagavalli reference. As soon as Gopan enters his tharavadu, we hear sounds from the Devasuram universe. While the initial few callbacks somewhat work, as time progresses, the predictability of the callbacks shoots up. He worked for over 40 years in the film industry.Right from the introduction sequence of Neyyatinkara Gopan, we are subjected to the aforementioned A10 references. He has done many movies of Malayalam cinema, Kannada, Hindi, Tamil, English, and, Telugu. Mammootty is a famous south Indian actor and producer.
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