: It’s always a treat for Malayalam movie lovers when their favourite stars come together for a film or an anthology. It feels like a show of solidarity among the actors in the industry, putting aside petty fan wars. In the past, we’ve had Joshiy's star-studded masala entertainer and anthologies like .
Now, to commemorate MT Vasudevan Nair, one of Kerala's most celebrated writers, major stars, filmmakers, and technicians have joined forces for an anthology series, . What’s more, they’ve even brought in the legendary Kamal Haasan as a presenter. ‘ .
As for why Kamal Haasan, a recently inducted member of AMMA (the Malayalam Actors' Association), was chosen for this role, he explains the connection himself: Kamal’s first lead role in a Malayalam film was in the 1974 film , which was written by MT. It’s always a pleasure to hear Kamal Haasan speak in Malayalam, as he introduces each story and shares his insights. For example, before presenting , he talks about how he has empowered his daughters to make their own decisions.
Though it might be my mischievous mind at play, I did sense some awkwardness when he discussed disappearing conventions in relationships before introducing . : To discuss the rest of the series, it’s ideal to take each segment individually and explain what worked and what didn’t. All the segments are set in the period they were likely written for rather than being updated to present times.
Here’s a look at each in the order I watched them. Priyadarshan is credited as the showrunner of the series, and he also directs two episodes (while others helm one each). features Biju Menon and Shanti Krishna, with supporting appearances from Sshivada, Joy Mathew, and others.
The story revolves around an upper-caste man who returns to his ancestral house with his teenage daughter to visit his mother. He has a specific purpose related to the house. He is then visited by his uncle and o : It’s always a treat for Malayalam movie lovers when their favourite stars come together for a film or an anthology.
It feels like a show of solidarity among the actors in the industry, putting aside petty fan wars. In the past, we’ve had Joshiy's star-studded masala entertainer and anthologies like . Now, to commemorate MT Vasudevan Nair, one of Kerala's most celebrated writers, major stars, filmmakers, and technicians have joined forces for an anthology series, .
What’s more, they’ve even brought in the legendary Kamal Haasan as a presenter. ‘ . As for why Kamal Haasan, a recently inducted member of AMMA (the Malayalam Actors' Association), was chosen for this role, he explains the connection himself: Kamal’s first lead role in a Malayalam film was in the 1974 film , which was written by MT.
It’s always a pleasure to hear Kamal Haasan speak in Malayalam, as he introduces each story and shares his insights. For example, before presenting , he talks about how he has empowered his daughters to make their own decisions. Though it might be my mischievous mind at play, I did sense some awkwardness when he discussed disappearing conventions in relationships before introducing .
: To discuss the rest of the series, it’s ideal to take each segment individually and explain what worked and what didn’t. All the segments are set in the period they were likely written for rather than being updated to present times. Here’s a look at each in the order I watched them.
Priyadarshan is credited as the showrunner of the series, and he also directs two episodes (while others helm one each). features Biju Menon and Shanti Krishna, with supporting appearances from Sshivada, Joy Mathew, and others. The story revolves around an upper-caste man who returns to his ancestral house with his teenage daughter to visit his mother.
He has a specific purpose related to the house. He is then visited by his uncle and other village elders, who inform him that a girl has been found unconscious and possibly dying near the brook. The girl turns out to be the daughter of his former lover, and she has a bad reputation.
While everyone continues to gossip about her 'disreputed' past, no one actually tries to save her. reflects the decline of compassion among people and the hesitation to help someone in need. However, the segment doesn’t fully justify this theme, though it is decently narrated and features a fine performance from Biju Menon.
Jayaraj directs , which features the final appearance of the late Nedumudi Venu (that isn't AI). If you are someone who adores this legendary actor, then is a troubling watch since Nedumudi Venu plays an old man who is on his deathbed, while his relatives await his passing. The story is told through Kuttinarayan (Indrans), who takes charge of every function, including funerals.
He believes he can predict when a person will die and likes to be in control of everything. reminded me of two Malayalam films that may have been inspired by MT’s writings: Anjali Menon’s and P Sukumar’s (which also featured Nedumudi Venu as a dying man with people waiting, increasingly frustrated, for his death). The episode poignantly explores the relationships that evolve during a person's final days, whether the care shown is out of love or duty or simply for face-value.
Although the story feels familiar, excels in its relatability and its ability to evoke the right emotions. The final scene is heart-rending, with Nedumudi Venu tugging at your heartstrings. Thanks to its emotional weight, is my favourite segment of the series.
Shyamaprasad’s begins with a beautifully rendered song that instantly won me over. This segment takes its time with you, but it is the most women-empowering episode of and also the one that feels relevant to the times. The story is about Sudha (Parvathy), a talented singer, who returns to her ancestral home (homecoming is a recurring theme in most segments).
However, news of her desire to separate from her husband Prabhakar (Narain) reaches her family and her village before she does. From her mother to random passersby, everyone urges her to compromise and continue the marriage. She smiles patiently, but it’s clear she has no intention of doing so.
The story is presented simply, with a flashback sequence showing her troubled marriage and a newfound admiration for a music aficionado, Vishwanathan (Harish Uthaman). The standout scene, in my opinion, is a conversation between Sudha and Vishwanathan, where she asserts her need for independence using a novel by Virginia Woolf as an example. The conclusion is very restrained, which may work against the segment as a whole, but Parvathy is wonderful in the role.
Also, I must reiterate—lovely songs. When it’s a Santosh Sivan directorial, you know what to expect—beautiful frames and stunning locales. There’s plenty of that in this puzzling tale about a stranger who arrives in a hamlet in a hilly region, seeking a place to stay.
The villagers are unsure of his intentions, but they help him find accommodation in an abandoned house belonging to a (never-seen but frequently mentioned) wealthy man. There, the stranger begins to hallucinate about a girl who reminds him of someone from his past. reflects the decline of compassion among people and the hesitation to help someone in need.
However, the segment doesn’t fully justify this theme, though it is decently narrated and features a fine performance from Biju Menon. Jayaraj directs , which features the final appearance of the late Nedumudi Venu (that isn't AI). If you are someone who adores this legendary actor, then is a troubling watch since Nedumudi Venu plays an old man who is on his deathbed, while his relatives await his passing.
The story is told through Kuttinarayan (Indrans), who takes charge of every function, including funerals. He believes he can predict when a person will die and likes to be in control of everything. reminded me of two Malayalam films that may have been inspired by MT’s writings: Anjali Menon’s and P Sukumar’s (which also featured Nedumudi Venu as a dying man with people waiting, increasingly frustrated, for his death).
The episode poignantly explores the relationships that evolve during a person's final days, whether the care shown is out of love or duty or simply for face-value. Although the story feels familiar, excels in its relatability and its ability to evoke the right emotions. The final scene is heart-rending, with Nedumudi Venu tugging at your heartstrings.
Thanks to its emotional weight, is my favourite segment of the series. Shyamaprasad’s begins with a beautifully rendered song that instantly won me over. This segment takes its time with you, but it is the most women-empowering episode of and also the one that feels relevant to the times.
The story is about Sudha (Parvathy), a talented singer, who returns to her ancestral home (homecoming is a recurring theme in most segments). However, news of her desire to separate from her husband Prabhakar (Narain) reaches her family and her village before she does. From her mother to random passersby, everyone urges her to compromise and continue the marriage.
She smiles patiently, but it’s clear she has no intention of doing so. The story is presented simply, with a flashback sequence showing her troubled marriage and a newfound admiration for a music aficionado, Vishwanathan (Harish Uthaman). The standout scene, in my opinion, is a conversation between Sudha and Vishwanathan, where she asserts her need for independence using a novel by Virginia Woolf as an example.
The conclusion is very restrained, which may work against the segment as a whole, but Parvathy is wonderful in the role. Also, I must reiterate—lovely songs. When it’s a Santosh Sivan directorial, you know what to expect—beautiful frames and stunning locales.
There’s plenty of that in this puzzling tale about a stranger who arrives in a hamlet in a hilly region, seeking a place to stay. The villagers are unsure of his intentions, but they help him find accommodation in an abandoned house belonging to a (never-seen but frequently mentioned) wealthy man. There, the stranger begins to hallucinate about a girl who reminds him of someone from his past.
is a surreal take on life and death, love and regret, but it’s also a hard nut to crack. If you’re not interested in solving the puzzle, the segment feels too abstract to be impactful and ends up being one of the weaker offerings in the series. is directed by Ashwathy V Nair, the daughter of MT Vasudevan Nair.
Starring Asif Ali and Madhoo, this segment follows a young journalist in Madras who responds to an ad about selling furniture and meets the lady of the house who wants to get rid of it. Though he doesn’t find what he’s looking for, the journalist spends the day helping her deal with other potential buyers while getting to know more about her. is a narrative built on conversation, and it benefits from strong performances by its lead actors.
The pacing is slow, but there are moments where you connect with it, like when the lady compromises on prices to make a young couple happy. However, simmering discontent soon arises as we realise her story is an emotional tale of abuse and inflicted isolation. The conclusion, however, feels too sudden and didn't work for me.
Directed by Rathish Ambat, this episode revolves around an extramarital affair. It features Indrajith Sukumaran (who seemed a bit stiff), Aparna Balamurali, and Ann Augustine. The title plays on the protagonist's philandering nature, as it becomes an excuse for him to be away from his wife and closer to his lover.
I found the episode to be rather average, with no major surprises. The English delivery in some scenes felt awkward, and the ending felt compromised compared to the women-empowering themes of some of the previous episodes. Even the insertion of the caste angle felt forced.
Mahesh Narayanan teaming up with his favourite actor, Fahadh Faasil, is always a delight for movie buffs, and their latest collaboration does not disappoint, even if it doesn’t rank among their best works. The story follows a young, unemployed man with a history of alcohol issues who is brought to the USA by his elder sister, whose husband works in a different city. Her only companion at home is Sherlock, a cat that belonged to her husband, and her brother is not a fan of the feline.
is a surreal take on life and death, love and regret, but it’s also a hard nut to crack. If you’re not interested in solving the puzzle, the segment feels too abstract to be impactful and ends up being one of the weaker offerings in the series. is directed by Ashwathy V Nair, the daughter of MT Vasudevan Nair.
Starring Asif Ali and Madhoo, this segment follows a young journalist in Madras who responds to an ad about selling furniture and meets the lady of the house who wants to get rid of it. Though he doesn’t find what he’s looking for, the journalist spends the day helping her deal with other potential buyers while getting to know more about her. is a narrative built on conversation, and it benefits from strong performances by its lead actors.
The pacing is slow, but there are moments where you connect with it, like when the lady compromises on prices to make a young couple happy. However, simmering discontent soon arises as we realise her story is an emotional tale of abuse and inflicted isolation. The conclusion, however, feels too sudden and didn't work for me.
Directed by Rathish Ambat, this episode revolves around an extramarital affair. It features Indrajith Sukumaran (who seemed a bit stiff), Aparna Balamurali, and Ann Augustine. The title plays on the protagonist's philandering nature, as it becomes an excuse for him to be away from his wife and closer to his lover.
I found the episode to be rather average, with no major surprises. The English delivery in some scenes felt awkward, and the ending felt compromised compared to the women-empowering themes of some of the previous episodes. Even the insertion of the caste angle felt forced.
Mahesh Narayanan teaming up with his favourite actor, Fahadh Faasil, is always a delight for movie buffs, and their latest collaboration does not disappoint, even if it doesn’t rank among their best works. The story follows a young, unemployed man with a history of alcohol issues who is brought to the USA by his elder sister, whose husband works in a different city. Her only companion at home is Sherlock, a cat that belonged to her husband, and her brother is not a fan of the feline.
As the segment progresses, layers are slowly peeled back to reveal why the young man is there, what’s happening with his sister’s marriage, and why he hates the cat. Both Fahadh Faasil and Nadiya Moidu are fantastic in their roles, with Fahadh particularly excelling in the final part when he vents his frustration at the cat. Ranjith returns to direction with what is the shortest episode of the series, lasting about 30 minutes.
Starring Mammootty in the lead, it follows a reputed journalist who travels to Sri Lanka for an important assignment and takes a detour to visit a small village called Kadugannawa. A flashback, going back 50 years, reveals why he needed to make this detour. Mammootty is wonderfully restrained here, even though the flashback portions limit his screen time.
Vineeth, who plays his father in these scenes, is quite good. The segment explores the duplicity of a man’s nature, but it feels rushed in how it unfolds. This becomes evident when the emotional impact falls short in the final scene.
is one of MT’s most popular works, which already has a famous big-screen adaptation from 1970 starring Madhu and Usha Nandhini. Priyadarshan re-adapts this story for the anthology, with his dear friend Mohanlal stepping into Baputty’s role. This is the only segment shot in black and white, perhaps as a tribute to the original film.
There are some stylistic flourishes, like the rare splash of red on the bangles Baputty buys for Nabeesa (Durga Krishna), though this feels inconsistent. In the very next scene, the colour reverts to its washed-out form. is primarily a tragic love story with an ending that may not resonate well in these times (a sexual assault victim choosing to end her life instead of living with the man she loves).
The love story itself feels ineffective because it’s poorly developed, and the casting of a 60-plus Mohanlal opposite 28-year-old Durga Krishna is a major drawback. Both actors are good in their roles individually, but together, there is some awkward chemistry. There’s also the fact that Surabhi Lakshmi (the only actor to appear twice in the series) plays a character older than Mohanlal’s! All in all, could evoke mixed feelings for the admirers of MT Vasudevan Nair's writings.
The beautiful title song, Kamal Haasan's presentation and some very beautiful frames help give the anthology series a nice appeal. As for the individual stories, not all episodes are effective. Some are disappointing, particularly the much-hyped .
The standout features, in my opinion, are reserved for and Sherlock. All nine episodes of are streaming on Zee5..
