Nanpakal Nerathu Mayakkam - A Movie Review

In Lijo Jose Pellissery's latest film, "Nanpakal Nerathu Mayakkam" (A Mid-Day Slumber), James, a Malayali Christian, is returning home from a pilgrimage in Velankanni when he stops a bus near the Tamil Nadu border and claims to be the missing son of a Tamilian Hindu family. He metamorphoses into someone else as his bus drives by the village. James, played by Mammootty, is a penny pincher who financed the trip, yet he can also be warm, considerate, and funny. Sundaram, the person James claims to be, is gregarious, sociable, cheerful, and a devout Hindu. The film's allegorical nature, accompanied by a sense of humour and a packed soundscape, enriches it even when it wears thin in other departments.

Early on, when James pays for the lodge in Velankanni, the billing counter serves as a bridge between the shots of the basilica in the film's introductory frames and the Hindu imagery seen in Sundaram's village. Around the counter, a slew of Christian and Hindu iconography is showcased side by side as a mark of the syncretic culture in this holy site for Christians. James' unblinking reaction to the pictures implies his acceptance of religions other than his own. In a later scene, however, he expresses contempt - not mere dislike but contempt - for the fare at an eatery in Tamil Nadu. James represents the average human within whom both liberal and illiberal values simultaneously reside.

The film's determined open-endedness is accompanied by a sense of humour and a packed soundscape that enriches it even when it wears thin in other departments. Film dialogues in more than one language, songs, serials, and ads - occasionally in the foreground but mostly as a backdrop - are a constant and delightful adjunct to the rhythm of daily life here. Even when it is not obvious that the audio is coming off a radio or TV, the background score mimics the universal sounds of melodramatic movies and serials.

Perhaps James is a performer in a play or film within this film. The words shown painted on a vehicle right in the end suggest this as one of various possibilities, the other being that the Tamil Nadu setting is not to be taken literally. James and Sundaram may be found anywhere, somewhere, in one place, some place, or every place. Perhaps we are watching James in a dream that changes him for the better through exposure to a people for whom he harboured an aversion without necessarily being a raging bigot. Perhaps we are witness to the wanderings of an unsettled mind - James had indicated as much at the lodge.

Unlike in most patriarchal societies, the onus here is not placed on the wives, Sali and Kuzhali, to save their husbands from going astray. The community on both sides largely supports the women. The wives too defy stereotypes and support each other. But Sundaram's mother - the only one who 'sees' him when he is resurrected - feels like a clichéd notion of maternity.

Nanpakal Nerathu Mayakkam's message is a portal into another life, another world, a Narnia in James' mind. It leaves us with a multitude of meanings, and like the crossing in Churuli, sleep in Nanpakal Nerathu Mayakkam is a portal into another life, another world. Produced by Mammootty Kampany and co-produced by Lijo's Amen Movie Monastery, this tale of re-awakenings is based on a story by Lijo, with a screenplay and dialogues by S. Hareesh, and editing by Deepu Joseph. It had its world premiere in December ,who both embody different aspects of human nature, and their encounter with each other highlights the complexity of identity and the potential for change.

Furthermore, the film's use of Tamil Nadu as a setting is significant. It portrays the state's unique culture, including its food, language, and popular entertainment, as well as its religious and ethnic diversity. By situating James and Sundaram's encounter in Tamil Nadu, the film also touches on issues of regional identity and belonging, and the potential for empathy and understanding across different cultural and linguistic divides.

Overall, "Nanpakal Nerathu Mayakkam" is a thought-provoking and engaging film that offers a nuanced exploration of identity, change, and empathy. Its allegorical nature, accompanied by a sense of humor and a rich soundscape, creates a dreamlike atmosphere that invites the audience to interpret the film's meaning in their own way. Through its portrayal of James and Sundaram's encounter, the film suggests that transformation is possible, even for those who harbor aversions or prejudices towards other cultures and identities, and that empathy and understanding can lead to a deeper sense of connection and belonging.