Paithrukam (1992)

Very well executed

Too much of everything

Best movie of this year hands down!

Absolutely Fantastic

A movie which glorify indian superstitions..just watch if u are blindly addicted to religion and want to satisfy your traditional religious believes. and the movie's climax is a joke..

Jayaram Nade is one of the most beautiful films of the year, and hence he has also been unable to remake from the best of Malayalam movies.Jayaram, Suresh Gopi, Narendra Prasad and Geetha are doing well in the film, while the film is going to come to an end and the beauty of the cinema is the beauty of the cinema.The fact that life takes place in fact gives us a glimpse of the fact that the picture goes to the reality of the society and the confrontation between faith and faith in God

Traditional Dressing, Songs, Light Effects, Background Music, with stunning script totally takes our mind to old days while living in this Mechanical life in the 21st Century. Father and mother's love and care to their son or daughter is narrated efficiently. Effectively narrated the demolition of snakes idols and at last begging for mercy to Idol Snake for saving their kid before birth. I feel it is real if any human kills or destroys Snake (in Hindu mythology Snakes are the rulers of earth) or their worshiped idols it will totally destroy their upcoming generation too. Father Narendra Prasad speaks to his Son Suresh Gopi during Suresh Gopis Sons Birth. ("I never forced my sons to follow my path; in reply to Suresh Gopi's dialog "I want my son to follow my path"). I was watching the full movie without washing my hands during dinner.

Jayaraaj is a canny director - he ropes in for an unusual subject some of Malayalam cinema's most popular stars and manages to extract from them performances of their life. There is no point giving away the story - which is the movie's great strength: a rarity in a country whose cinema is often more than willing to go with cliché and formula.Geetha turns in an impeccable cameo as she always does. The big clash between faith in god and faith in man, theism and atheism, ritual and belief of one kind versus another is embodied in the tussle between Suresh Gopi's character and that of his father played by the always-solid (Professor) Narendran, a revered priest in the film. Set in a changing India, the film captures a young Marxist in Kerala in confrontation with an older way of life that he (rather easily) brands as superstition and oppression. As audience, we must navigate constantly - Gopi speaks on behalf of an aggressive idealism that seeks to break down Kerala's (India's?) age-old servility to a feudal/hierarchical and deeply oppressive agrarian order. Narendran stands for an increasingly moribund way of life, all the more sentimentalized because his character stands unflinching, with a quiet dignity, in the face of a galloping new mindset that recasts all belief as superstition and empty ritual.In between these two seemingly indomitable men is the character of Bhanu Namboodiri (played challengingly by Jayaram), a priest novitiate under father Narendran. In Bhanu's torn love for brother Gopi and fidelity to his own belief, like father Narendran, in a higher order of things, the audience finds a rough moving parallel.The music is by far the best thing in the film - 'Seetha Kalyana' rendered by Chitra and later by the inimitable Yesudas with a kind of haunting power carries the entire film.The movie has its problems - some simplifications, a less than consistent cinematography, some nostalgia even - but over-all, Jayaraaj presents a moving look at a fundamental question of human existence: what do we believe in?