Kumbalangi Nights

Kumbalangi Nights (written by Syam Pushkaran & Directed by Madhu C. Narayan) is an aesthetically, emotionally, and psychologically rich film that deals with the interpersonal relationships within two different families, with some sprinkles of thrills throughout the film. Spoilers filled analysis/review ahead! The film starts with the youngest brother, Frankie, who is going back home, from the hostel, for the school vacation. He returns home to a dysfunctional family of brothers who are doing not so well in their life. The way Shyju Khalid (Cinematographer) captured the geography of Kumbalangi is just fantastic. Everything from the boats, fishing nets, and coconut trees to the serene back waters looks aesthetically calming. The minimalistic yet tranquilizing score by Sushin Shyam sets the tone for the film. Their house, which is not even painted with the bricks exposed to plain air and has a badly running washing machine, establishes the disoriented state they are in. Even the youngest brother says it is the worst house in the village. The eldest brother, Saji, played by Soubin Shahir, who is supposed to lead the family after the father's demise, is not at all caring about the state of the family and fights with his own siblings. Bobby, played by Shane Nigam, on the other hand, is also deprived of motivation to study or be employed and wanders around the village with his friend. Bonny, played by Sreenath Basi, is mute and also hangs around at different places in the village. On the other side, there is the 'proper' family led by Shammi, played by Fahadh Faasil, who owns a Gents Salon and also the only male person in the family. Therefore, Shammi assumes father-like responsibilities because the father of his wife is no more, and even the mother of his wife behaves in such a way that he is the head of the family. The sister-in-law, Baby, played by Anna Ben, who works as a tourist guide, falls in love with Bobby, her former high school crush. The placement of the song "Uyiril thodum" sung by Sooraj Santhosh and Anne Amie is absolute bliss. The different tropes of "masculinity" that are explored in the films are absolutely fascinating. Shammi is portrayed as the conventional "man" of the house who is responsible, always provides, makes all the decisions, and is the protector of "culture" and family traditions (mostly conservative). Whereas Saji, who is supposedly the man of the house, is rather free spirited and does things as he wishes. When Bobby and Saji come to meet Shammi and make a proposal, he indirectly insults them by calling their part of the village a 'Shit-land' and saying that no one resides there, thereby establishing his 'masculine' superiority. This deeply cuts both Saji and Bobby and makes them take life seriously to bring their intentions to fruition. Saji, who is living off his ironing shop partner friend, is informed of his parasitic nature by the same friend, He tries to commit suicide because the only trusting friend has insulted him. Accidentally, the friend loses his life in saving Saji, leaving behind his pregnant wife. Bobby uninterestingly joins for a regular job at a fish refrigeration company, leaving behind his talent of fishing as it is considered a "low status job." The character arc of Saji becomes complete when he says to Frankie that he needs help and asks to take him to a doctor for psychological help. On the other hand, Bobby leaves his dissatisfactory job and comes back to the village. Then comes the scene where Saji and Bobby emotionally open up about their childhood traumas and the complex relations among the brothers with the doctor and Baby, respectively, and feel very relieved. This is the point where the film reaches an emotional peak. Then comes the soulful song "Ezhutha Katha" sung by Sushin Shyam, in which Saji brings home his friend's widow (who almost looks like Mother Mary carrying baby Jesus), Bony brings his exotic girlfriend (after being sent out of Shammi's home stay) to live with them as a family, and Bobby takes up fishing as his main job, leaving all masculine egos behind. On the contrary, when Shammi comes to know that Baby is going to elope with Bobby, whom he didn't approve of, all hell breaks loose. The scene where Shammi goes insanely psychotic and violent reminds me of the famous scene in Stanley Kubrick's "The Shining". The film is a yardstick example of how the spectrum of masculine shapes the lives of people in a family. One side leaves all the egos behind and embraces love, and the other side takes a dark turn when it is tested. All credit goes to Syam Pushkaran for conceiving such a complex screenplay, yet it feels simple, and to Madhu C. Narayanan for directing it with such conviction and aesthetic superiority in just over 2 hrs. As far as the acting performance goes, both Soubin Shahir and Fahadh Faasil knocked it out of the park. Back in 2019, FaFa stood out a lot, but now, in 2024, Soubin has my heart. The way the film ends leaves us with a warm feeling and a lot of hope.