Vishal Menon
There are brief passages in Aashiq Abu’s Neelavelicham where you see glimpses of an original vision that may have been the genesis of this labour of love. More than a technical update of one of Malayalam cinema’s greatest films, one can even look at Neelavelicham as Aashiq Abu’s ode to the sort of ‘pure’ love story that no longer holds any relevance.
Neelavelicham also develops into a story of loneliness. In many instances you find that it’s only Bhargavi ( a lovely Rima Kalingal) who is able to truly understand this misunderstood writer. This works the other way around as well because it is only with this writer that Bhargavi is willing to open up to, choosing to also spare him from her ghostly scares.
Equally compelling is how the moon becomes a character in itself, often becoming a messenger between Bhargavi, her lover Sasikumar (Roshan Mathew) and this earthly writer. In one of the many striking images that give this film a mythical glow, Bhargavi stares straight up at the moon in defeat when she realises that her lover has gone.
I felt it’s the dialogues that disturb us from the immersion the film’s aiming for. While the time-travel is perfectly in place in almost all scenes, it’s the way certain statements are made that keeps the film at a distance. For instance, a character introducing himself as a “vazhipokkan” (a passerby) sticks out despite everything else in the scene working towards it.
The performances, by both Tovino and Roshan Mathew, do a lot to keep such dialogues believable even when you’re tempted to not engage. Their looks too, recreating characters played by Madhu and Prem Nazir respectively, remind us that there couldn’t have been better choices to play characters that are soft yet brave, cheerful yet with troubles of their own.
When it works, Neelavelicham gives you moments that take your breath away. When the vision does not fully come together, though, we get the body of a masterpiece but with the spirit missing.