Mammootty performs the despicable Kuttan with absolute integrity, observes Divya Nair.

If you might have learn the Mahabharata, you’re most likely conscious of the story of King Parikshit and Takshaka, the serpent king.

Once, whereas looking a deer within the forest, King Parikshit meets a hermit who’s deep in meditation.

When he asks the hermit concerning the deer he was looking, the latter would not reply. The offended king throws a lifeless snake across the hermit’s neck.

On listening to about this act of sacrilege, the hermit’s son will get upset and curses Parikshit that, inside seven days, he would die of a snake chunk. Takshaka, the serpent king, vows to kill Parikshit.

Parikshit fears for his life and builds a robust residence to guard himself from the curse. He manages to cheat dying a number of instances. Ultimately, Takshaka turns right into a puzhu (worm) and involves Parikshit’s desk in a fruit basket. When Parikshit eats the fruit, it results in his dying.


Directed by Ratheena, Puzhu — starring Mammootty and Parvathy — is a contemporary adaption of this story.

Kuttan (Mammootty) is a Brahmin police officer and widower who’s extraordinarily disciplined and protecting about his solely son, Kichu (Vasudev Sajeesh).

He disapproves of his sister Bharathi’s (Parvathy) marriage to Kuttappan (Appunni Sasi), a scheduled caste theatre artiste who in the end strikes into the identical residential society the place Kuttan lives.

Through flashbacks, we be taught of Mammootty’s disagreeable previous and attainable enemies who he suspects try to kill him. However, most his investigations result in lifeless ends, leaving him in a state of paranoia and disappointment.

Kuttan’s mood and impulsive reactions to folks and conditions annoys his son to such an extent that he needs to kill his father.

Just when Kichu distances himself from his father, Kuttan discovers that his sister is pregnant. He cannot tolerate it and tries to barter with Bharathi who’s adamant.

In Puzhu, Kuttan performs the boastful King Parikshit who’s cursed to be killed. Although he’s conscious that Takshaka is ready for him and manages to flee dying a number of instances, the puzhu will discover its approach.

For her debut movie, Ratheena’s adaptationmtriumphs in some ways, however largely for the portrayal of its lead character, Kuttan.

For somebody like Kuttan who insists that the tomato is a vegetable and never a fruit and wholesome tooth are all the time white, not yellow, change would not come straightforward, nor does acceptance of actuality.

Kuttan will punish his solely youngster and make him reiterate ‘tomato is a vegetable’ 500 instances, however can’t settle for that he could possibly be flawed. But is Kuttan a nasty father for educating his son what he was taught by his father and by his academics in class? How can self-discipline be such a nasty factor?

Kuttan’s disgust, lack of sensitivity and resistance to alter finds purpose in his brother-in-law Kuttappan’s selection of theatrical topics that query caste and patriarchy.

Mammootty performs the despicable Kuttan with absolute integrity. His effortlessly twitching face and physique language do many of the speaking. When he opens as much as his bedridden mom, Kuttan comes clear about his flaws and misdoings, nearly like he is the sufferer.

Meanwhile, Parvathy — who has little or no display screen presence — portrays the ache and feelings of a sister and spouse fairly effectively. The interactions between Kuttan and Bharathi, although minimal, are intense.

From an obedient son who would not query his father for worry of being punished, Kichu’s transformation to a insurgent will not shock you in any respect.

The fantastic thing about this gradual burn thriller lies within the delicate integration of every of its characters that draw you to their model of the subplot.

Unlike the Rohit V S-directed Kala, which was fairly fashionable and extrovert in its execution of hate and bigotry, or Jithin Issac Thomas’s unsettling portrayal of the septic tank cleaner in Pra. Thoo. Mu (a part of the Freedom Fight anthology), Puzhu permits you to view Kuttan’s world of hate with out really spelling issues out.

The dramatic use of theatre to fill within the lacking items of the puzzle could not entice everybody as a result of it nonetheless leaves quite a bit to your creativeness.

While there are situations by which Puzhu makes you slightly uncomfortable, it sadly would not allow you to empathise with any of its victims. This, I really feel, is the place I really feel it largely fails.

Overall, whereas Puzhu is non-judgmental, it leaves you with simply sufficient to ponder upon.

Puzhu streams on SonyLIV.

Rediff Rating:

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