The power of satire

Mammootty's Utopiayile Rajaavu uses metaphors and allegory to depict Kerala's politics and society.

Director Kamal stirred a hornet's nest with his comment on Alphonse Putharen's superhit film Premam. He implied the film sent out wrong messages to the youth and lamented the rather sad state of today's movies.
No wonder then that scalpels were out when his new film Utopiayile Rajaavu released. Crafted on the rather slim volume of satirical comedies in Malayalam, the movie isn't another of those Mammootty all-out entertainers that give him the superhuman aura. Kamal and the film's writer PS Rafeeque (credited with the superhit Amen) had sought to keep the film's promotions to what it really is - a curious take on society today in which everyone and everything in a fictional village becomes a character.
Yet, the criticism came out harsh, that a film moulded on the likes of KG George's classic Panchavadipaalam where characters are rather loud and caricatured, loses its effect. People sought formula and the result was social media critics venting on the movie and its director.
Utopiayile Rajaavu, once again, highlights the illogical polarisation that social media has spawned on views about Malayalam cinema. The so-called 'old generation,' not very active or savvy with social media tools, find themselves cornered in the face of sarcastic, caustic and personal attacks by the new generation who will defend their own and condemn old-timers with unabashed glee.
Starring a string of talented actors including Joy Mathew, TG Ravi, Sudheer Karamana and with Jewel Mary in the lead, the film uses allegory and metaphors galore to communicate the rather pathetic state of politicking in Kerala today. At the heart of the narrative is the attempt by Mammootty, playing a curiously titled Swathanthran, who is trying to erect a statue of his father, a freedom fighter. Every aspect of the film is a trifle pepped up in the genre of satires.
The quest for a utopian world, as unreal as it is, indeed forms the backdrop of the narrative where actors might appear a little out of sync or loud. The film also gets the prop of a voiceover.
While it might not all add up to deliver that stunning biting criticism into contemporary society, the fact remains that Utopiayile Rajaavu marks a significant departure in the filmmaking style of Kamal.
In his earlier two films - Celluloid and Nadan - Kamal focused on gritty reality. Celluloid, with Prithviraj, went on to win a clutch of honours including best film at the state level, while Nadan starring Jayaram was a let-down with the intense melodrama of a failed theatre actor not appealing to viewers.
Utopiayile Rajaavu also marks the teaming up of Kamal with Mammootty after about nine years; they worked earlier in Karutha Pakshikal, which also saw Mammootty defying image traps. As an Onam release, Utopiayile Rajaavu did not exactly ignite the box office. But the hostility that the film received on social media once again proves that when it comes to appreciating movies, there is a lot more at stake today - the first being the need to make peace with the most vociferous crowd of new-gen fanboys.

• South Stars