‘Manorathangal’ 2024 Review: With A Few Hits & Misses, Anthology Series Is A Sure Shot Winner

Malayalam movies have had only a handful of anthologies over the years, and many of them have been a huge success on the big screen as well as on the OTT space. The most popular ones must be Kerala Cafe and 5 Sundarikal. The ones that are not spoken much about are Naalu Pennungal and Aanum Pennum, instances of taking a subject and making several stories around it, interpreted by many directors. 

Manorathangal on Zee5 Global is a new anthology series that has the acclaimed novelist and screenwriter M.T. Vasudevan Nair and the stories he has written over the years are at the center of attention. The show was released on 15th August 2023 and brings in stories from Kerala about life, choices, love, and relationships. The show brings on board eight directors, with Priyadarshan helming as the showrunner, and gives the audience a peek into the characters written by M.T. Vasudevan Nair and where he takes them as per his understanding of the world. The veteran writer is known for stories that were considered modern then and now, which sets him apart from storytellers who write in a more traditional style. Here are some summarized reviews of all the short films in the anthology.

Episode 1: Olavum Theeravum (Ripples and the Shore)

Priyadarshan’s first directorial venture in this anthology series is the slowest episode. This story of love and loss is based on the famous story of the star of the show, M.T. Vasudevan Nair. However, Priyadarshan’s treatment of it lacked everything that the original source material had. The story of Bapputty and Nabeesu has been retold, but without any sentiment or emotion. Bapputty falls in love with Naseebu even after knowing she comes from what society considers a bad family, as her mother sold her body for living just to sustain her family. 

The essential problem of the episode is the length and the old-school drama-like treatment. The black and white in the post production does not add anything new to the narrative. Even on a technical basis, the color grading did not come out right. There is no sense of melancholy or pain, which is the inherent theme of the entire anthology. There is too much glorification of the male savior complex, machismo, and hero worship, which hampers the viewing experience as most of them lack actual intense drama. The episode has typical plots with predictable endings. The damsel in distress trope that is still being used in the cinema is distressing. It sends out the wrong precedence to the young audience. The writing of the episode is way too stretched, and the director made it like a full-length feature film. 

Mohanlal does not fit in the role of the lover boy. This could remind many of Priyadarshan’s film Killichundan Mambhazam. The Malabari accent throughout the episode was inconsistent. The actress who plays Nabeesu has no role to play just to be the naive, helpless woman waiting to be rescued. This episode had continuity errors and the trope of showing red bangles in color is robbed from The Schindler’s List. Mohanlal is sleepwalking while others are just there while this episode moves at a snail’s pace. Not a good way to end the series, as this one would exhaust the audience. 

Episode 2: Kadugannava, Oru Yathra Kurippu (a travel note)

The veteran director Ranjith has the most polarizing filmography. Some of his films are exceptionally good, while others are just abysmal. Over the years, the director has gone through ups and downs and delivered all kinds of movies. The penultimate episode is a small, 31-minute one that takes the lead character back to his childhood memories. Venugopal, a reputed journalist, was in Sri Lanka in the year 1994, for a conference. A large chunk of memories from his childhood comes back to his arrival in the war-torn country. 

The direction, especially the placement of flashback scenes, adds emotional drama to the narrative, which is core to the story of the episode. Ranjith has a good time with the characters in the episode. All have had different reactions for one awkward situation. The writing beautifully brings out how men and women were treated differently, and how, back in the day, having no communication between parents was considered a norm. There is a sense of melancholy just like in every other episode of the anthology series. 

The father’s character is written well, which brings out his chauvinistic side. The writing also brings out the frustration of women in households who are stuck with patriarchal situations that do not cater to them or their needs. The performance of megastar Mammootty must be pointed out as the actor yet again plays an understated role effortlessly. As Venugopal, he conveys a lot through his eyes, which is the biggest takeaway in the smallest episode of the anthology. Good work by Ranjith and his team. 

Episode 3: Kaazhcha (Vision)

Shyamaprasad has always been known for delivering pathbreaking stories, and his films have also broken several societal taboos. Kaazcha, which means vision, is about Sudha, an aspiring Carnatic classical musician and a government employee in Chennai, separating from her alcoholic husband. The news reaches her town on her arrival, and her mother begins to inquire as to her reasons behind such a big step. Since the story is set during a time when separation and divorce were considered taboo, Sudha, as a woman who was financially independent, chose to step away from a marriage that did not serve her right morally and emotionally. 

The story depicted accurately the knee-jerk reaction of the neighbors and friends who advise the lead to make things somehow, expecting her to ‘adjust’. The villagers and family gossiping about others is the common link between this story and the ones in the last two episodes. MT Vasudevan Nair’s story breaks away from the norm that women should be submissive and should not choose to live on their terms. The flashback sequences are oddly placed, but it gives a picture of Sudha’s plight and the reasons behind her separation. The direction is a bit shaky, but it is the climax involving Sudha’s old, aged aunt that takes the cake. The woman, who was blind, could understand her niece’s cause of sadness, while people with the ability to see could not comprehend she was visibly miserable in her marriage. Women standing up for women are at the heart of the episode.

The episode is filled with emotions that hit the right notes (pun intended). The music is excellent, and it adds drama to the narrative. Parvathy is excellent, and this is by far her next best outing in the year after Ullozhokku. Shyamaprasad is in full control of the craft, and this is another brilliant episode thanks to M.T. Vasudevan Nair’s great story. 

Episode 4: Shilalikhitam (Inscriptions)

One of the two episodes in the anthology series directed by Priyadarshan, this episode stars veteran actress Shantipriya and Biju Menon as a mother-son duo who are struggling to move away from their individual mindsets. The episode is about an archaeology professor, PKG Nair, who is back in town owing to a historical discovery unearthed, which he’s hoping to be credited for. He is joined by his daughter Renu as they visit his dilapidated ancestral home where his mother lives. It is during their brief trip that he comes to know that a young girl who happens to be the daughter of his old flame who has attempted suicide. All the family members land up in his home to discuss her fate as they are supposed to move her to the hospital. 

The premise of the episode is excellent; it is the screenplay that shines through, as many stories from the past emerge just like his archaeological remnants. There is a sense of claustrophobia that can be felt in the short, and kudos to the writer, MT Vasudevan, for developing a sense of shame and awkwardness through the many revelations from the past. The inherent patriarchal system that shames women for breaking the rules of society, gossiping old men who are essentially the decision-makers, and mansplaining are discussed very well in the episode, which allows the audience to examine every character with shades of gray. The hypocrisy of society and family members at the time of a death comes across very well, and it is only an unexpected person who stands up and silently does the right thing, or at least attempts to. The old-world charm, uncomfortable memories, and the generational gap are explored well. This is very unlike Priyardarshan, and he shines. Good production and costumes add to the drama, which makes Shilalikhitam a great start to the anthology series. 

Episode 5: Vilpana (Sale)

Vilpana, just like Abhayam Thedi Veendum, is high on concept but weak on execution. Aswathy V. Nair’s direction made this episode feel very random. The story is that of Gita Parekh who is in conversation with one of the potential buyers of her furniture which she and her husband have put it on sale. The potential buyer is a journalist named Sunil Das. The idea that everything has a price, including herself, was presented in the most bizarre fashion, and the direction after that point did not make sense at all. The director and the writer tried to indicate that Gita was in an emotionally and physically abusive marriage, but that did not come out well. Her reminiscing about her days in Kolkata and disliking her life in Chennai—these instances were not nuanced and lacked layers. 

Just like the previous episodes, the melancholy and old-school charm element very much exists, but besides that, nothing holds the film tight. The dubbing and the accent of Gita Parekh were odd. The cinematography is interesting; it kind of brings out the pain the lead is in, but besides that, there is nothing that makes her dilemma believable to the audience. This episode is not up to the mark, and sadly, it does not live up to the main plot. 

Episode 6: Sherlock

Sherlock, directed by Mahesh Narayanan, is an interesting take on cultural differences, home sickness, and immigration. The story is about Balu, a recovering alcoholic who moves in with his sister in America. As he is adjusting to his new life, Balu is not comfortable with his sister’s pet cat, Sherlock. The writer and director quite accurately depict the kind of life NRIs lead outside of their country. There is honesty and realism in the depiction, and there is no over-the-top drama about romanticizing life back home. The writing of the episode is the king here as it slowly brings up Balu’s past issues and portrays him as a man who had his fair share of troubles before he moved. 

The best part about the episode is that it shows cats in a good light. The cat is the only person he can showcase his discomfort of having to move to another country, because they don’t speak the human language. The direction is simple and effective and conveys a lot through a small, concise apartment. he movie felt very personal because many can relate to it. Good editing also keeps the episode pacy. Even though the ending is unexpected, it is the performances that keep the episode engaging till the end. Fahadh Faasil and Nadia Moidu are excellent, and did I forget to mention the cute cat? 

Episode 7: Kadalkaattu (The Sea Breeze)

Kadalkaattu, the sixth episode of the anthology series, does come across as a tale that justifies infidelity, and people who indulge in it in the short do not face the consequences of their actions. Keshav is a rich married man who works in the city. While he has a wife and child in his hometown, in the city he lives with his girlfriend, and both are deeply in love. 

The main concern of this episode must be the tacky dialogue and poor direction. The director tried the Padmarajan style of filmmaking, but it fell flat as there are no emotions felt during any of the scenes. The lead character has no depth, as there is no redemption arc given to him for the mistakes he makes. His wife Bharathi has been given the weakest arc as she is seen as a timid, naive person who has no voice or power over making any major life decisions. The story is very unfair to women, keeping in mind how other stories in the same anthology about the female gender are empowering. This one is a huge step backwards. The performances also do not add any sentiments to the film, making the episode very bland. 

Episode 8: Abhayam Thedi Veendum (Once Again in Search of Refuge)

Santhosh Sivan this time has taken up a story that connects human beings to nature and how there are few who are able to understand why it is essential to find a bond with the flora and fauna around us. However, this episode is the weakest link in the anthology series, as the writer and the director are unable to explain the core premise of the plot very well. The unnamed man moves to a village looking for shelter. As he finds shelter in the outhouse of a rich man, he sees visions of a woman and it begins to haunt him. 

The core of the movie is the man’s love for nature, but the writing, the direction, and the cinematography devolve into a big mess. The writing is confusing, and does not bring out the core idea of the plot, which leaves the audience frustrated. There is a lot going on in this episode, but nothing comes to fruition. The concept of the episode is good, but a better screenplay would have done the trick. Santhosh Sivan loves stories that revolve around folklore, but this time it was a misfire as there is no understanding of what the director wants. The ending is vague, and the director plays around with motifs and metaphors, but that did not work either. Sadly, this episode was a bust because the core of it was flawed, with erratic writing and shaky direction. 

Episode 9: Swargam Thurukunna Samayam (When the Doors of Heaven Open)

Directed by the acclaimed Malayalam film director Jayaraj, there is a lot to take away from this episode, which is about Kutty Narayanan Nair, who is skilled at understanding what could be the right time for any event, be it weddings or death. This time he was called to the side of an old man, Madhavan Nair, who is on his deathbed, and whose family members have been informed about his deteriorating health condition. As family members slowly descend, Kutty Narayanan Nair is confident in his skills and claims the person might not survive the night. The story is cliche, but the character of Kutty Narayanan Nair stands out as he is arrogant about his talent and finds joy in knowing he has an upper hand. Even though the narrative around the kids is something seen in many films in the past of MT Vasudevan Nair himself, it is the atmosphere of sadness that is created around the aging man that adds depth to the narrative. 

Jayaraj is a clear winner here; just like in many of his films in the past, there is a sense of tension, even though the story was a family drama. The same could be said in this episode. Glad to convey the director has not lost his touch. The generation gap, and villagers and family gathering and talking about people on their deathbed is a common link with the first episode. The production value adds to the emotional impact of the episode, as the climax will leave you teared up. The plight and pain are depicted beautifully by the actors in the film, which could be credited to good writing and direction. The story feels a little stretched but it could be a metaphor for people of old age awaiting death. A slow-burn episode with great sound design, brilliant music, and amazing cinematography. The camera catches brilliant details that take the narrative forward. Jayaraj hit it out of the park. The late Nedumudi Venu and veteran actor Indrans are excellent right from the start till the end. With this episode, and Jayaraj should consider making more movies on such a melancholic subject. 

Manorathangal is a beautiful trip down memory lane for MT Vasudevan Nair’s fans, while there are minor bumps and hiccups here and there. Overall, the anthology is a brilliant watch.