“Bhaiyya Bhaiyya disappoints with poor comedy, annoyingly long runtime and a highly fluctuating plot. Even the successful chemistry between Kunchacko Boban and Biju Menon doesn't help. Skip this one!”
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Bhaiyya Bhaiyya with tagline All Indians Are My Brothers, is the return of the popular combination with crass appeal – Kunchacko Boban and Biju Menon. The film has been directed by Johny Antony (remember CID Moosa) who has a penchant for comedy thrillers, and while there are fleeting moments of comedy, the claim of thriller is highly debatable.
The film plays out with jaded characters rehashed from other movies. Script writer Benny P. Nayarambalam probably thought nobody would recognise them if he gave them all an epithet and cast Kunchacko as Bengali Babu, Biju Menon as Babu Ram Chatterjee in lead roles. These two are supported by Udaiyippu Soman, Contractor Korah, Angel Varkey, Disco Shanthi, so on and so forth.
When the film opens Babu, Bhaiyya, Disco, Angel and Soman are on a journey to a flash back. Babu Ram Chatterjee or Bhaiyya is brought from Calcutta to Kerala by the wealthy contractor Kochuveetil Chacko (Innocent) as a playmate for his son Babu. Over the years the two grow fast and thick, find childhood sweethearts, and suffer a change of fortune. Cut to present day – Kochuveetil Chacko is a senile pauper and his sons are construction workers with the life skill of taking things in their stride.
The movie is peppered with farfetched and harebrained incidents. This one time the political candidate Vettuparambil Varkeychan’s son Monai (who goes for Hindi tuition to improve his chances in Delhi) is locked in a room with Mobile Vasanthi aka Installment Vasanthi, a sex worker. The townspeople gather around in a heavy hand of moral policing, when Varkeychan (Vijayraghavan) comes to Monai’s (Shammi Thilakan) rescue with two garlands and the media in tow, announcing that the two were in fact going to get married the same day (!).
Suraj Venjaramood is back in his element as Udayippu Soman, which makes his National Award seem like an aberration. Especially when he says things like “Jumping in a septic tank and dying would be better than marrying a woman like Vasanthi,” in his sympathy for Monai.
Besides these moments of offense, and poor, poor comedy, my other main grouse with the film is that it is inconsistent and at two hours and 32 minutes the inconsistencies are more protracted. We have Maoists, two petty thieves (Gregory Jacob and Jayasanker Karimuttam, who bring with them moments of redemption), a long road trip to Calcutta that culminates in all kinds of absurdities. While there is no rescuing the script Johny Anthony could have made the film a bit more bearable by culling out a good half hour and making it a tighter package.