Sufiyum Sujatayum - Movie Review
Being the first ever Over The Top (OTT) release in Malayalam movie Industry, “Sufiyum Sujatayum” was a much anticipated movie of the year despite the covid-times. The released trailer unquestionably induced a temporal shift towards a magical haven where the unseen would wrap the unheard. This movie definitely is a chronicle of an all-pervasive romance that implants a sense of ubiquity cherishing the trails of amorous roots within an individual-spirit. However, the movie could not fulfil its promise to a greater extent considering the strength of its plot in its unified blend. The overwhelming musical cavalcade and the picturesque serenity of the locations were indeed traded with the internal consistency of the plot.
“Sufiyum Sujatayum” is definitely a visual treat and the experience would have definitely doubled undoubtedly with a theatrical release. Nevertheless, the plot in its complete sense does not flame up to extricate the seeds germinated within this potent romance. The exceptional romantic fervour somehow droops down and gets arrested for a further reverberation of its fierceness. Dev Mohan, as a debutant fits flawlessly for his role of Sufi as a detached, distant character whose expression begins and ends with his legend of love. Aditi Rao becomes a paramour of grace and an icon not through the way in which her character unfolds, but with her refined, emphatic Kathak subtleties. The veterans of the industry, both Jayasurya and Siddhique handles their roles in the most convincing and unexceptional traits. Wean them out of the plot and the integration of the work automatically falls flat.
Though the movie is an unsurpassed tale of love, it digresses at occasions many and takes a wild turn protruding into nothingness. The contemporariness of the society could be pulled in convincingly but the communal fractions or the spasms of a long-lost love could not be sketched well enough. The redundancy of the sequences which girdled the love between them turned to be one of the factors which placed the strength of the work at jeopardy. The romance turns sloppy further in its progressive track and loses its preciseness towards a well-knit structural purity.
The final question that remains in the mind of the audience is what this Movie was all about. The emotional solidarity which could have been well established in a romantic tale gets confused with manifold digressions and extraneous impacts. Nonetheless, the Background score as well as the musical nuances by M. Jayachandran was mind-blowing. Anu Moothedath, on the other hand, deserves a great applause for his Camera frames and Cinematography. The editing by Deepu Joseph also stands commendable. The directorial part too had done justice to the way in which the movies takes a very engaging turn. Despite these peripheral charms that entice the audience, the final take-away from the movie remains as a huge question mark.
All said and done, the movie is a quintessential magical tale depicting a relationship which soothes your eyes as well as your ears and captures your attention till the end. If we are to pertain ourselves to the motto of Sufism, the film fails to find its “inward dimensions” to the real effect. Despite the panoramic frame of visions and mesmerising background score, the plot withered in many areas and could not fringe the solitary vigour of the romance on which the entire story had been hooked upon. Engagingly crafted and masterfully directed, the movie will surely keep you entertained despite its lack of coherence with the theme it upheld. It does supply the catalyst for entertainment, but not the subject.
A. Krishna Sunder
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