Manorathangal

Manorathangal or Mindscapes is based on MT Vasudevan’s short stories. It revisits MT Vasudevan Nair’s timeless tales, blending nostalgia with uneven execution in its cinematic adaptation.

What a feast for MT Vasudevan Nair afficionados as his timeless stories are brought together in an anthology of short movies featuring the best directors and actors in the world of Malayalam films!

The introduction of each film by cerebral actor-director Kamal Haasan, leaves us filled with anticipation as each scene in the story unfolds. Even if you have read it earlier, directorial freedom keeps up the element of suspense.

https://indiaartreview.com/stories/manorathangal-mt-vasudevan-cinema/

1)  "Shilalikithangal" (Inscriptions) is a  story that has haunted me for 3 decades and I think ace director Priyadarshan crafted  the film brilliantly, with Biju Menon displaying unpardonable cynicism and cruelty towards "Narayani's daughter" which is reflected in the  callousness of his (male) neighbors and friends. And this was supposedly a matrilineal society. Yes, the innocent humaneness of his young daughter shows up as a ray of hope, but to no avail, practically.

2) Director PN Menon's "Ollovum Theeravum" (Ripples and the River Bank) was a full length classic, but  Priyadarshan cannot be  expected to replicate all nuances in a short film. Nor is there time enough for Mohanlal to challenge Madhu's superlative performance in the pathbreaking 1970 classic.

3)As "Kadugannava" (A Travel Note) takes Mammooty to Srilanka to meet half sister Leela, the veteran is at his understated best, though I agree with the reviewer that a longer film could have added value to MT's basic story.

4) MT's affinity  and understanding of animals is brought out empathetically in  "Sherlock" the feline character as he interacts with a typically alienated and often weird Fahadh.

5) In " Kazhcha" (Vision), Parvathy is the very real working woman whose Philistine ( pardon the politically inappropriate usage) husband doesn't understand or appreciate her musical hopes and aspirations ... and desparately "wants space".

6) Directoral performance of MT's daughter Aswathy Nair in "Vilpana" which shows a day in the life of a bored, frustrated and slightly potty housewife. And methinks, Asif Ali as the confused and quzzical journalist dragged into her make believe story, was perfect for the role.

7) "Kadalkaattu" is the only story with a 100% happy ending,  with Indrajith's very credible multiple interactions with boss, mistress, wife, daughter .. and pet dog.

8) Santosh Sivan's direction makes "Abhayam Thedi Veendum" confusing and seemingly meaningless. But did MT want to convey something significant ? Yemaan ( master) as Yaman?

And masterly acting from Indrans redeems slow moving "Aalkootathil thanney" from somnolence.

9) Reviewer SR Praveen opines that MT's stories should have been modified to create something new. But, the beauty of MT today is partly his anachronism. Use of words like "Theevandi" for train and "Kochettan" for "Chota chetan" revived memories from the 1960s.

 Yes, liberties are often taken with the great Bard himself. But can "Maqbool" stand up to "Macbeth"; or "Omkara" to "Othello"?

~ J P Alexander (From CBC)

 Manorathangal, more than everything else, it celebrates the diversity of themes that are explored in the writings of M.T. From the tale of a tragic, unrequited romance in Olavum Theeravum, to an interpretation of the immigrant experience that stands on the verge of postmodernism in Sherlock, it's astounding how much ground is covered in these nine stories. 

Even when there are minor qualitative crests and troughs in their creation, each of the movies enhance our understanding of human nature in their own way. Even when they are set in a time that's different from ours, it is this factor that makes the stories resonate with us.

Abhayam Thedi Veendum, directed masterfully by Santosh Sivan. It emphasises that movies are primarily a visual media and everything else is meant to enhance that aspect of movie making, even the plot.

The first episode is an adaptation of Olavum Theeravum, which was already made into a movie decades back and starred Madhu. I have read the story and the screenplay of the first adaptation by M.T. himself. This one, filmed by Priyadarshan in black and white, and starring Mohanlal is a competent adaptation. It is able to retain the old world charm of the plot. While everyone acted brilliantly and I was especially happy to see Mamukkoya again, it was Hareesh Peradi who was the scene stealer. 

In the second episode titled Kadugannava: Oru Yatrakkurippu, featuring Mammootty and directed by Ranjith, actor Vineeth does a brilliant act. It is a very subtle tale when compared to the more raw and on-the-face Olavum Theeravum, and has autobiographical elements of the author himself. 

Kamal Haasan presents the entire series in his accented Malayalam.