With great composers like Jayachandran, K.J. Malayalam movies highly depend on Malayalam songs for creating hype for them. In Mollywood, these songs are the principle of popular music in India. The music scene of Malayalam music industry changed with the entry of Malayalam musicians and poets. But as time passed and technology advanced, they started making their own tunes. It may amaze you that even lullabies are sung in a traditional way and they subsequently found their way into poetry.Įarlier, Malayalam songs used to derive their melody ideas from Hindi and Tamil songs. Malayalam songs are mostly sung during events to make them peppy and lively. The Malayalam songs play an extremely important role in enhancing the culture of Kerala. The traditional form of music, having melodious tunes, is an absolute delight to your ears. There exist various genres in Malayalam music, namely entertainment songs, film songs, Carnatic songs, devotional songs and many more. People in Kerala have a set of songs which correspond to every occasion, either small or big. The people in Kerala are so fond of music that you will find classical music infused in them. This genre of music carries a long history behind it. This is a movie with a high likeability quotient because it unearths the beauty in trifles.Malayalam songs, regionally known as Malayalam ganam originated from Kerala. Anand’s frames soothe the eyes, mixing tonalities well and giving a slight jerkiness to initial scenes that go well with the shaky nature of a teenager.Īlphonse can be forgiven for the flimsy conclusions he makes on certain episodes of love because he does it with the knack of a magician, giving hardly any time to think it over. The supporting cast is flawless, be it Vinay who comes as a fumbling, finicky, love-stricken lecturer or Krishna and Shabareesh who play George’s friends. She portrays a young lecturer tentatively seizing upon love for her student, conveying missives through her eyes that move like a ballerina. Sai Pallavi, who plays the guest lecturer Malar, threatens to steal the show. A rich, college boy pleads to return the logo of his Mercedes car which he finds missing and a waiter cleaning the floor unabashedly guides a girl to his shop warning her of water at every step. The lover confuses letters in Malayalam script to write the word ‘orange’ in his love letter and finally gives up.
Alphonse adorns his narrative with a spread of cute, lovely humour. Nivin progresses along these transitions beautifully, switching from goofy impulses to heartfelt musings, from an ever-smiling, bright-faced teenager to a bearded youth with glaring eyes and eventually a baker with a burning temper.
The professed wisdom that comes with age makes him keener, eager for love, but also more sensible and he delivers it with a mature heart. When he later finds love as a youth, he is assured – not afraid to tell his teacher that she is beautiful and adding that he was not drunk as he said it. The absent-minded teen even messes up his first love letter likening her lover to sardine fry just because he lost his attention while composing the letter as his mother had asked which fish he wanted for lunch. As a teenager, George is nervous, scared, unsure of his love, dabbling in vague ideas to present himself before the girl he loves. Premam never attempts anything profound, but gradually shows the varying grip of a man over love and life. Nivin has managed to dilute the ignominy with sugary innocence in such a way that Romeos do not evoke mean contempt but good hearted laughter. People look down upon such shameless Romeos who do nothing but follow the trail of the girl they love. He is assigned a special task these days – to elevate the perception of what is usually considered harmless but a lowly manner of drooling over girls. Nivin Pauly plays George David who courses along love as he grows up from a teenager to a man. Alphonse Putharen weaves his new film ‘Premam’ mostly around the spontaneity of love, its freshness, the split second that shatters the vows hardened over years and sometimes its triviality, the aspect that enables someone to let go and move on. One never gets tired of it, no matter how devastating the side effects. Perhaps the most wonderful trait of love is its inexhaustibility. Review: Boys and invariably men just relish the labour of love – the pain it takes to woo a girl, her first glance which would send his pulse shooting like a meteor, her illusory smile that would freeze him as though in a photo frame. Story: Premam narrates the love affairs of George David from his pre-degree days, portraying the varying grip of a man over love and life.
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