Review: Monsoon Mangoes

pic credit: manoramaonline.com

Monsoon Mangoes, unlike the annual rains in Kerala, didn’t wake anyone from their slumber. Or that is at least the way it seems for the time being, given the meek response it received. That was more good news for Pavada, which was released on the same day. Does that mean it is bad? The film was released at a time when people were talking endlessly about Dulquer Slaman’s costumes in Charlie. It never had that festive vigour which Charlie had in abundance. Caught in between two high profile films, starring two heartthrobs, Monsoon Mangoes felt like a nerdy whisper silenced by a rough bully. But what seems to be more troubling is that it might not get a good reception in TV as well. You see, this isn’t a film that fulfils your expectations, nevertheless, is one that could leave a smile on your face. But you just need the right mind and the right eyes to enjoy it. It’s like a gooseberry. You are not sure of its taste at first, but slowly, you get the feeling that it’s not bad after all.  

The film was publicized in the media as the return of Fahadh Fazil - the actor (as opposed to Fahadh Fazil the hero). But for most of us an actor has to be a hero (nothing less is acceptable). Perhaps this was the bane for Monsoon Mangoes, which has hardly any heroism in it. The protagonist is portrayed as a loser for most of the time. Or at least that is the way other characters in the film see him. In Charlie, an inescapable sense of aura and mystery surrounds the protagonist. Compare this with the uneventful life of D P Pallickal in Monsoon Mangoes, and you will understand the difference. The comedy in the film is not the kind which will make you jump out of the seats. The emotional scenes won’t make you cry a river. To put things short, it is a film composed of everyday events that are mostly uneventful.

pic credit: filmibeat.com

The one department where Monsoon Mangoes gives a competition for a film like Charlie is in its use of colours. Both films don’t make any compromises when it comes to splattering frames with colours that will make your eyes pop out. Gives you the feeling that you are in one of those painting exhibitions where there is an endless display of colour. But there is a slight difference. You look at those wonderful frames by Jomon T John in Charlie and somewhere deep in your heart you feel that you are watching an advertisement. You would imagine that at any moment Parvathy Menon would utter a few lines endorsing some product. Nothing of this kind in Monsoon Mangoes though. There are no efforts by the cameraman trying to be clever. It’s more suave and compliments the story of the film. The frames are composed of things that are necessary which keeps you involved in what is happening with the story. There are very few directors that give importance to the minute details in films. Another film that went unnoticed for its exceptional framing in 2015 was the Asif Ali starrer Kohinoor.

So what went wrong with the film? You see, Monsoon Mangoes is a deeply personal film. Or that is the way I felt about it. It seems that the director is trying to pass some message to the audience. He has something to say. The only problem is that these days, nobody wants to hear what the director wants to say. We want the hero to say everything and the audience doesn’t really care about the director. The film seemed to have elements from the director’s life when he started out making Akkarakazchakal or some of his philosophical takings on life as well as filmmaking. This too didn’t cut well with the audience. In short, this is a director’s film, not a hero’s and anyone expecting to see the regular stuff would be disappointed. You should have guessed it when you heard that Fahadh is doing the lead.

pic credit: the hindu

The film takes it time to unravel. It takes us slowly through the everyday happenings of an expat malayalee settled in North America who aspire to become a film director. The character D P Pallikal can be anybody. Here again I would like to compare this film with Charlie, which I think would be right to call its antithesis. Charlie is an enigmatic, all powerful charming human being. D P on the other hand is simply invisible, neglected by all, and most importantly he is a self-obsessive idiot who thinks that he is wiser than the rest. I think that one of the best qualities of any actor could be his ability to make himself irrelevant in a film that demands him to be and Fahadh does this with such ease that we are caught ourselves in a confusion as to whether to like or dislike this character he portrays. Unlike Charlie, D P has flaws and he makes mistakes and is vulnerable. It is difficult right at this moment to think how difficult it is to be in Fahadh’s shoes, being the only actor who really tries to get into a character. But while watching the movie you never for once notice the hard work he has put into for this film. It comes quite natural for him.

It is hard to think of a reason as to why Monsoon Mangoes failed to bring people to the theatres. Like several nicely made films it too would remain in a box of oblivion. The problem is that we are less concerned about film as an art form. Its label as the common man’s medium is at once a blessing and a curse. However, the fact that that doesn’t stop filmmakers from experimenting is something that needs to be seen as a positive sign. The thought that at least they are getting made gives a sense of relief. In the age of 20/20 Monsoon Mangoes feels like a test match played in front of empty seats. It takes time to gather momentum, nevertheless, has its own unique sparks of brilliance that requires a pair of trained eyes to watch and appreciate.