Produced by: Antony Perumbavoor
Story by: Govind Vijayan
Cast: Mohanlal, Samuthirakani, Anusree, Vimala Raman, Nedumudi Venu, Baby Meenakshi.
Music by: 4 Musics, Ron Ethan Yohaan (Score)
With the trendy flicks coming up the filmmakers now focus on more of crime thrillers and fast pace exposés. Such is this priyadarshan vehicle, oppam. The movie has none other than ellardeyum priyapattu laletan, Mohanlal as the protagonist around whom revolves the theme that could possibly be any actor’s dream wherein a visually challenged person is chasing a killer. With the release of the trailers itself, the flames of hopes from any priyadarshan- mohanlal movie was set up and totally convincing is the fact that the duo promise some spark over the big screens.
It was that peak time when the state was immersed in the onam turmoil. And yes, the movie indeed made through it. The movie is a critical drama where a visually challenged person is the only witness of a murder and this incident comes to us in a rather watery blend, with a good amount of family sentiments and a hodge-podge of characters involved in the plot.
Jayarama, the on- screen name of Mohanlal plays with any danger at his ease and is to very extent n0t affected by any physical challenge. The art of the scriptwriter gives him skills to maintain his star vehicle that has been thoroughly cropped out since the Nineties.At times, it becomes prodigious as some of us could start pondering, like his co-actors who do on screen, if Jayarama could actually see.
Oppam has captivating camera angles and dark corners set as the framework as Jayarama is being tortured and startled down. Still he spurts with astonishing deftness from the controls of the police and a much abled villain.
The evidence is built upon the guilt trip of a retired judge, played by Nedumudi Venu, who finds a friend in Jayarama. As the plot spreads out in a high-class apartment complex, we are given some light instants. But when the sequences of evocative feel rolls in.
This Priyadarshan flick is almost entirely carried forward by Mohanlal with at times a spectator pondering ijf he has been used as a property. The movie creates a free balance between the heo- villain seesaw whe with Samuthirakani clasping one end and mohanlal, the other. But as the sequel moves on, it becomes exhausting as the plot is combined with two almost back-to-back songs and a number of faces diverting attention.
They say Malayalam filmdom has entered a new phase. In an age where women’s empowerment is an oft-repeated talk, it is worth considering whether films like Oppam are actually shimmering a social reality or simply going after a regressive trend.