Cast: Dileep, Madhu, Salim Kumar, G.K. Pillai, Suraj, Akhila, Vandana, Jagathy, Siddique, Biju Menon, Janardhanan, Suresh Krishna, Ganesh, Baburja, Sadique, Manoj, Harisree Asokan, Snathosh, Rimi Tomy, Biju Naryanan, Afsal, Jyotsna, Beena Antony, Archana, Nisha, Usha, Sheeja, Yadhukrishnan, Kaviraj, Rajiv Rangan, Krishnaprasad
Direction: Thomson K Thomas
Music: Berny Ignatious
After all those experiences in Mollywood as an actor, assistant director and producer, it is sad that Dileep has gone for an age old story line and conventional narratives to pump up his 100th flick -the new movie ‘Kaaryasthan’.
A usual storyline built around two feudal families, their fights and about the good stranger who comes up to patch up their long drawn clashes, Dileep’s regular scriptwriters Sibi K Thomas-Udhay Krishna has reworked or even rewritten their own scripts of some previous films adding some sequences from the recent Tamil hits, but without any appeal.
After watching another ‘done to death theme’ and the actor’s one more failed attempt to project himself as a superhero in the league of Big M’s, the final word is of much caution to Dileep, either reinvent yourself or to wisely go for experimental movies, rather than getting outplayed in the number game.
This time for ‘Kaaryasthan’, the scriptwriters have named the two families at war as Puthezhath and Kizhakkedath, headed by two Karanavars (played by Madhu & G K Pillai), and each with three or four sons to fill the frame, but with very little dialogues right through. The two families who were in great companionship in the olden days were forced to fight across the walls, which were constructed after a bitter happening and a death that occurred subsequently. Into this basic premises arrives Krishnanunni (Dileep) who enters one of the households as a Kaaryasthan (caretaker).His secret mission is to end the longstanding feud and to unite the two families .And amidst the process he falls in love with Sreebala (Akhila).
The movie goes on to tell how Krishnanunni manages to clear of the ambiguities in the events that really created the rifts and how he wins the hearts of both the Karanavars as well to end up fruitfully in his mission.
The movie fashions itself with all clichéd characters and scenes under the Mollywood universe ranging from families at loggerheads(which had been the central backdrop of half of the movies made in Mollywood) to the multitasking hero who can do every seemingly impossible things under the sun( cane fights, somersaults to cane dances), the misunderstanding dramas to create most of the chuckles , to the big bad man and his helper, who pretends to be the allies creating all the problems to be corrected later and the grand confession scenes in the midst of every family members that set things right.
In another attempt to play to the family gallery, Dileep seems to blindly believe that rehashing this same age old formulas even without any narrative experiments can guarantee him a hit. The dialogues with plenty of double meanings are also pathetic.
In the acting front Dileep is good at times and painfully boring at other sequences. Suraj manages to convert only less than half of his attempts to quality giggles. Salim Kumar, Harishree Ashokan and Thesni Khan fail miserably to get things going in their side track. Akhila, in the midst, make an interesting debut with great energy levels and good dancing skills. Senior actors like Madhu, G K Pillai and Siddique have wafer thin roles but manages them safely with least efforts.
The half a dozen songs in the movie tuned by Berny-Ignatious are hummable and are pictured with plenty of colors. The song with serial stars works in a typical level and so is ‘Om Shanti Om’ model packaging in the end. The movie seems to be excessively shot with plenty of sub scenes and the attempts of its editor Mahesh Narayanan to pack all at less than two hours and fifty minutes is apparent with many of the scenes appearing rushed.
Coming from a senior associate with oodles of experience, this is not the right kind of stuff for a launch film, for its director Thomson. The movie lacks much in excellence from silly scripts to frames. The end result of ‘Kaaryasthan’ may be a moderate hit, if marketed intensely.