Iyobinte Pusthakam

Iyobinte Pusthakam

3.7 68 Ratings

Directed by : Amal Neerad

Release Date :

  • Critics Rating 3.3/5
  • MJ Rating 2.9/5
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Verdict

“Iyobinte Pusthakam is a visual treat. A well shot period drama with brilliant performances from the entire star cast, soothing music and strong script. Must watch!”

Iyobinte Pusthakam Credit & Casting

Fahadh Faasil

Iyobinte Pusthakam Audience Review

Short of substance

| by Catherine Rhea Roy |
Rated 3.0 / 5
| See all my reviews

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Amal Neerad is a slippery director who has previously lifted films straight from the original, without changing a scene. Bachelor Party was taken from the Chinese film, Exiled, and Big B was the facsimile of Four Brothers – so when they market a film calling it his magnum opus one is naturally a bit skeptical.


The film has a large cast, held together at the top by Lal as Iyob and his three sons Alosi, Ivan and Dimitri essayed by Fahad Faasil, Jinu Joseph and Chemban Jose respectively. Young Alosy runs away afraid of his two barbarian brothers who’ve been given free hand over their expanding fiefdom gotten by deceit and force. It is after setting this premise for us that Amal Neerad rolls his opening credits, pretentiously, with World War II footage, indicating that Alosi was away fighting the Great War.


We see the return of Alosi to his father’s estate in Munnar, the strained awkwardness with his brothers, the rekindling of his affair with Martha the milkmaid (!) (Isha Sherwani), and his Communist sensibility which is not welcome, he is not welcome.


The plot is a bit scant, especially since the cast is so much more capable. For example, we have Jayasurya in negative as Angoor Ravathar, playing Ivan, Dimitri against Iyob over a pot of the so far unheard of biriyani. And while the biriyani was a nice touch, the anxiety, strain, or just any emotion of manipulating two sons against their father is not explored.


In another instance, Padmapriya is Rahel, conniving wife of Dimitri. You have an inkling that she is more vital to the plot than just her two lines of dialogue and the strange looks she keeps passing to Iyob, Alosi and Ivan. Except her character appears a bit schizophrenic only to have her story rattled off in a half minute conclusion before she pulls the trigger.


The performances are fledgling, for no fault of the actors; there are many instances where characters have done their bit and simply hang about the screen, waiting for the scene to cut. Once you start to pick on these things you notice that the filmmaker has spent so much time with the look and feel of the period in costume, knick knacks, filters that burn out from scene to scene – an Amal Neerad standard. He loves to give grit and feel to his shots, to make his films stylish, looking slick and savvy, but with an underdeveloped script all these are just gimmicks to distract you from the real problem.


 

 

Amal Neerad has lofty aspirations, but he is just not mature enough as a filmmaker. He needs to spend more time with storyline, plot, and devices of the human mind before he sets out to claim his magnum opus. 

  • Storyline
  • Direction
  • Acting
  • Cinematography
  • Music