Movies about Two suitors
Review: UAE-based big-shot businessman Sanjay Menon (Irshad Ali) is reeling under severe debt, following the collapse of his business empire. All those who helped him were also affected by his downfall. Madai Sreedharan (Renji Panicker) and Sony (Midhun Ramesh) all were facing the same situation. Driver Abukka (MA Nishad) is struggling to save his daughter’s marriage as her husband demands more money. The second half — different from the first half — is about how Abukka gives Sanjay Menon a lift in his small load carrier and what ensues.
Set in UAE, this is probably a first of its kind in Malayalam cinema, with two kinds of treatment to one story before and post interval. The first half is portrayed like an emotional drama, while the second half is almost like a road movie.
Director K Satheesh has successfully created a suspenseful build-up in the second half. Irshad Ali and MA Nishad compete with each other in their performances; you see a different avatar to Irshad, who excels as a failed businessman, feeling mentally disturbed. MA Nishad puts up an equally good performance as a sincere, god-fearing driver, and desperate father, and someone who turns feisty when he is pushed.
The film, however, fails to make an impact, with too much happening in the first half and the connecting thread being too weak and confusing. Also, it feels too long. Except for Nishad and Irshad, you won’t feel any connection with any of the characters.
The cinematography is good, with the experience of a long eventful drive through the desert.
— V Vinod Nair
Boy loves girl. Another boy also loves this girl. Girl… isn’t sure which boy she loves most.
Though they’ve been prevalent in storytelling of all kinds for thousands of years, love triangles in movies and TV shows are often used as a crutch in thin, weak stories. But when constructed well, a love triangle can enhance profound storytelling.
Let’s jump in and examine the dynamics of this three-sided romantic plot device. But first. what’s a plot device?
More Plot Devices: Everything You Need to Know About Red Herrings
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What Is a Plot Device?
Plot devices are storytelling mechanisms writers can utilize to impact the plot of their story.
Understanding Love Triangles
Imagine that a typical romantic relationship is a perfect line between two people, with love going back and forth on that single line.
Using that logic, the term “love triangle” refers to a romantic situation involving more than two people.
There are many variations of the love triangle setup, with the most common being when Person A and Person B both love Person C, who must choose between the two.
Though the triangular shape might imply that the three people are in a polyamorous relationship (or “throuple”), the triangle typically involves two people who are competing for the third person’s romantic attention or one person in love with two different people.
One of the most well-known examples of this is in the 2004 movie, Notebook , based on Nicholas Sparks’ novel of the same name.
Teenage Allie and Noah fall madly in love during one summer in Seabrook, South Carolina, but are torn apart by her disapproving parents and World War II. A few years later, Allie is engaged to another man, Lon, when she comes across a newspaper article about Noah. She returns to Seabrook, where she is forced to confront her lingering feelings for Noah and make a difficult choice.
This difficult choice between two potential romantic partners is the crux of all love triangle stories.
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This movie is a loose remake of a 1973 French crime drama written and directed by Jose Giovanni, who wrote a handful of classic genre pictures, including Jacques Becker’s prison-break picture “Le Trou,” Alain Corneau’s gangster-on-the-run story “Classe tous risques” (both 1960) and Jean-Pierre Melville’s one-last-caper “Le Deuxieme Souffle” (1966). Giovanni’s original was a tense, lean narrative of a paroled con dogged by an old enemy, a cop with a grudge. This film, directed by Rachid Bouchareb, best known in this country for his “Indigènes” (aka “Days of Glory”), about North African soldiers fighting for France in World War II, makes the story a bit baggier, and, in a reach for contemporary significance, changes its setting to contemporary New Mexico and makes its paroled criminal a convert to Islam.
In this update, the viewer knows things are going to end badly from the opening shots. One of the film’s characters is seen dragging an inert body over a desert landscape. Then, in a long shot, he’s seen smashing the body’s head with a rock while screaming. The perspective reminded me of a similar death-seen-from-a-great distance scene, in Abderrahmane Sissako’s extraordinary 2014 “Timbuktu,” but where Sissako’s scene showed a quiet, implacable assurance, Bouchareb’s presentation has a slight ring of manipulative dynamics, and overdetermination. This feel persists over the course of many perfectly-framed vistas, including a shot of Brenda Blethyn standing in a doorway that is practically begging the viewer to compare it to “The Searchers.” But Blethyn’s recognizable presence also constitutes a godsend of sorts: when this film’s excellent actors are given things to do, Bouchareb’s heavy-handedness is easier to ignore.
Blethyn’s character is a parole officer. Forrest Whitaker plays Garnett, out three years early from a twenty-year-plus sentence; seems he killed a deputy during his gang-banger times. Harvey Keitel is Agati, a humane but exceptionally businesslike sheriff who has an extreme grudge against Garnett. The movie takes its time with these characters. Garnett, praised early on by his spiritual adviser on having learned to control his anger (there’s the first-act gun-mention you always hear that Chekhov quotation pulled out about), rides around on a motorbike enjoying his newfound freedom while Agati seethes and ponders what he’s going to do about this new problem preying on his mind. Blethyn’s character gives Garnett the old tough-not-quite-love treatment, bristling when he ingenuously boasts to her about a date with a woman he’s about to go on. “Tell her the truth,” she bluntly advises him. And he does, eventually. But once Agati starts harassing him, and once an old criminal associate (Luis Guzman) starts trying to lure him back into the fold, Garnett starts coiling up into himself more and more. An explosion is bound to happen.
The suspense is spiced up here by the culture clashes implicit in the environment and explicit in some of the characterizations. Early in the film Keitel’s sheriff asks Blethyn’s character to stop by a barbecue celebrating the return home of some troops who’ve been serving in Afghanistan. Garnett’s devotion to his newfound faith doesn’t impress Agati at all: in fact it seems to deepen his resentment of the character. What’s odd about “Two Men” is the fact that after establishing all of this material relative to character, Bouchareb, who co-wrote the adaptation with Olivier Lorelle and Yasmina Khadra, allows it to all fall away. The story builds to a climactic confrontation, but not the one, perhaps, that we’ve been expecting, and then ends on a frustratingly indeterminate note that has little to do with the issues the movie went to the trouble to raise in the first place. As exceptional as the acting in the picture is, and it is wonderful—Whitaker and Keitel are as inventive and surprising as they’ve been in years, and the supporting roles played by the likes of Ellen Burstyn and Stan Carp are well-sketched—it can’t entirely lift the movie from the rut it has all but plowed into by the end credits.
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