A sadhu uttering ‘Allah Hoo Akbar’. A Muslim proclaiming ‘Om Namah Sivaay’. A youngster being roughed up by his cop father for eating beef and the inspector making him chant a Gau rakshak slogan, spitting his paan inside the police station and invoking ‘Swachh Bharat Abhiyaan’. A film, especially regional, replete with many such bold scenes would have been stuck with the censors and one wonders how ‘Tiyaan’ (‘the above-mentioned’ in Malayalam) escaped unscathed and made it to the theatres. The filmmakers need to be lauded for their audacity and sheer grit to drive home their point.
To begin with, ‘Tiyaan’ is the first-ever Malayalam film I watched. And mind you, watching a film in a language you don’t understand and that too, without subtitles could be quite a daunting task. Well, not exactly, if the screenplay and story is engaging, direction is awe-inspiring, and performances are way beyond your expectations. Add to that, a mallu wife for the company, whispering translations of lengthy dialogues to keep you in sync with what transpires on the screen.
Beyond a certain point, one no longer misses the translation or subtitles. Nevertheless, I’d request regional filmmakers to include English/Hindi subtitles in their films or maybe the Board of Film Certification can make it mandatory so that the film can reach wider audience. Thankfully, the second half was mostly in Hindi, which made the viewing easier.
Tiyaan is a socio-political thriller, generously sprinkled with religion, miracles and spirituality. Written by Murali Gopy, and directed by Jiyen Krishnakumar, Tiyaan features Prithviraj Sukumaran and Indrajit Sukumaran playing the lead roles. Muraly Gopy, the writer of the film, doubles up as the film’s antagonist, essaying the role of a menacing godman to perfection.
The film is set at an idyllic village, perhaps in Uttar Pradesh. The strategic location of the village draws attention of a self-styled godman, Bhagwan (Muraly Gopy) to establish a temple. The only obstacle he and his goons face is a Brahmin’s (Indrajit Sukumaran in a brilliant performance) home, which needs to be demolished before the construction of the temple resumes. A Muslim fakir (With an interesting back story), essayed by Prithviraj Sukumaran with a veteran’s ease, lends his ‘divine’ support to the Brahmin, in his combat against the evil godman.
A story of such simplicity has multiple layers, which the director Jiyen Krishnakumar unveils one scene at a time. The screenplay writer Muraly Gopy’s craftsmanship and the deft storytelling skill of Jiyen Krishnakumar makes Tiyaan a compelling film. Satheesh Kurup captures the essence of a remote village to perfection with those aerial shots of barren landscapes. Even the action sequences that he shoots, amplify the characters’ emotions rather upping the film’s commercial ante. The editing by Manoj is slick to a fault, not a single frame more, not a single moment less. The music by Gopi Sundar blends with the film’s narrative seamlessly and becomes almost a character, especially in the song invoking Lord Shiva, lip synced by Muraly Gopy. When was the last time you loved a song sung by an antagonist in a film?
If Prithviraj Sukumaran commands screen presence with his smoldering persona and piercing eyes, Indrajit Sukumaran (his real-life brother) owns the frame with his dialogues and histrionics. Muraly Gopy depicts anger and greed using his eyes and with a restrained performance. Any other actor in his place would have surely gone overboard to make himself menacing. Muraly knows his skill too well to succumb to such temptations. Besides the powerful lead cast, the film has an interesting ensemble of supporting actors like Padmapriya Janakiraman, Ananya, Paris Laxmi, Suraj Venjaramoodu, Shine Tom Chacko, and Rahul Mahadev, who are indeed worth an applause.
To sum it up, Tiyaan is a film that goes on to prove that regional cinema is here to stay and shall always remain way ahead of mainstream Hindi cinema. This film makes a much bigger impact than those loud OMGs or PKs that we have been watching and appreciating. The film reiterates the fact that humanity, spirituality and compassion are above godmen, religions and miracles.