Machanta Malkha Film Review: A competition between regressive ideas and old film production

Saubin Shahir and Namita Pramod still in one Machante Malkha,

A certain machine -like uniformity marks male and female characters in Boban Samuel Machante MalkhaWhile almost all male characters are good -hearted and humble, most of the female characters are trying every trick in their book so that they can make life difficult for men around them. This unnatural pattern in the writing of the characters fulfills the purpose for which the film seems to be made – in cinematic form to make the complaints of men’s rights unions that have been cropped in recent times.

Machante Malkha Starts as a typical boy, who meets the girl’s story with a bus conductor Jeevavan (Saubin Shahir), who falls in love with a regular passenger Bijimol (Namita Pramod) in the bus after a series of quarrels. But the preface for this love story, when a fellow bus conductor, who loves Sajivan, leaves him to marry a rich man, indicating the intentions of the film. Whether it is due to this inherent agenda of the film or due to plain bad writing, it is written with characteristics that confuse business, changing his behavior many times within the same scene.

While in family courts, there are really a handful of women misusing laws related to cruel conduct in marriage to win cases, along with the actual cases of oppression, dowry deaths are also enough. But painted in the world Machante MalkhaMen suffer helpless in generations. Kunjimol (Shantikrishna) has been depicted as a always angry woman, who has made a life hell for a pre-service for her husband (Ku Manoj). His daughter Bijmol is also seen taking lessons from her husband in treatment. If the message was not found, Kunjimol’s granddaughter was seen beating a boy from the neighborhood till the end of the film. The message is at home in the final scene of the film, speaking a character in an incident of All Kerala Mains Association, which is notorious for organizing a reception for men accused in harassment cases.

Matching the olderness of all retrograde ideas, which makes the film an uncomfortable watch, is a dated film -making approach and equally listless performance. If the film was made in the 2000s, one of the worst periods in the history of Malayalam cinema, it would still be called old and retrograde. The comic on the pain of the audience attempts to regret the pile. Meditation is in almost every other film, pitching with an ineffective cameo.

Machante Malkha The product of apathy appears to be a time when retrograde views were celebrated in Malayalam cinema. Fortunately, that ship has been dispatched, such compositions are rare aberrations.