Punch! A Malayali likes a good punch. Everything must have a punch - the dialogue, the walk, the story, the ending...everything. Gotta go looking for that all important punch (with a capital P), mate! Be that as it may, slick, all-out action flicks are not really something Malayalam cinema is known for. And yet, we have managed to pack a good punch or two into our drama, comedy, tragedy, crime and even our fantasy! Below is a list of some of the most well choreographed fight scenes to watch out for.
ChappaKurishu: Arjun has finally managed to trace Ansari. As the latter runs for his life, the camera winds its way through the roads, the choked streets, and railway tracks to stop at a dilapidated public loo. And there they fight — man to man, fist to fist, a bloody, messy fight with no winners in the end. It’s a brilliantly choreographed impromptu action scene that elevates this otherwise ordinary film.
Big B: Bilal and his brothers are out to find their mother’s killers. They systematically get down to the job by meeting most of the nasty guys in the area. Bilal John Kurishingal fights the way he talks — deadpan, with clinical precision, smashing bottles and jaws. And then of course when Amal Neerad tops it with his trademark slow-motion shots, with loads of style, rest assured it’s a scene to watch out for.
Thazhvaram: “The artist in Bharathan comes through in the way the climactic confrontation between Balan and Raju is framed; it’s a messy, all-out fight to kill, and live – not a choreographed stunt – as vultures watch, and wait. This is the kind of stuff which makes you wonder what Bharathan could have done with a film like Mrigaya,” wrote RK in our Flashback piece. For the rest, go to this link.
MaheshintePrathikaram: What begins as a harmless tiff between two villagers soon snowballs into a raging, open street brawl—that too featuring two men who were not in the scene in the first place. So Mahesh finds himself unfairly thrashed by a stranger who looks like he has an axe to grind with him. Everything is so spontaneously staged, that’s why we get the impression of being in the middle of a real village street fight.
Kireedam: Sethumadhavan is sitting in the middle of a bustling market, next to a bullock cart, awaiting his nemesis. He is weary; a man who has lost everything. As Keerikkadan Jose comes screaming and charging at him, Sethumadhavan turns to look at him and all of a sudden you see the weariness giving way to blinding, uncontrollable rage. Sethumadhavan beats him unconscious and sits near a bullock-cart, defeated. Enter the jeep with cops. On seeing the cops, he gets hold of a knife lying on the ground and asks them not to come near him. Just then Keerikkadan Jose decides to wake up and Sethumadhavan charges at him, stabs him multiple times. As raw as it gets!
Commissioner: When the cops who were assigned to pick Mohan Thomas’ brother are harassed by a horde of students in a bustling campus in the middle of the capital city, CI Bharath Chandran doesn’t take it lying down. He chases him down, gives a sound thrashing and even a resounding earful to the senior who tries to dissuade him. All this right in the middle of a crowd with buses screeching past them. A well-choreographed one.
Charlie: The otherwise calm and cheery Charlie shows his volte-face in this one. A father has just pimped his 12-year-old girl to a monster and Charlie comes charging down, gets into blows with the father and pushes him into the room and beats the hell out of the monster. It comes across as an unrehearsed stunt, and that makes it very effective.
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Fullpicture is an exclusive, comprehensive, online English magazine on Malayalam cinema, put together by a team of experienced journalists who share a passion for everything about Malayalam cinema. The idea is to put out well-written and well-researched features, exclusive interviews,...