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കാലം കാത്തുവച്ച കാവ്യനീതി; ‘തുറമുഖം’ റിവ്യൂ Thuramukham Movie Review

Published: March 10 , 2023 02:39 PM IST

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‘‘കാട്ടാളന്മാർ നാടു ഭരിച്ചു നാട്ടിൽ തീ മഴ പെയ്തപ്പോൾ പട്ടാളത്തെ പുല്ലായ് കരുതിയ മട്ടാഞ്ചേരി മറക്കാമോ?’’

ഓർമയുണ്ടോ ഈ മുദ്രാവാക്യം? ഓർക്കേണ്ടവർപോലും സൗകര്യപൂർവം മറക്കുന്നതാണ് മട്ടാഞ്ചേരിയിലെ തൊഴിലാളികളുടെ ചോരയിലെഴുതിയ ആ ചരിത്രം. മട്ടാഞ്ചേരിയിൽ പൊലീസിന്റെ തോക്കിനു മുന്നിൽ തൊഴിലാളികൾ ചിന്തിയ ചോരയിൽ മുക്കി സംവിധായകൻ രാജീവ് രവി എഴുതിയ ഇതിഹാസമാണ് തുറമുഖം. ഏറെക്കാലത്തിനുശേഷം മലയാളത്തിൽ ശക്തമായ ഒരു രാഷ്ട്രീയ സിനിമയാണ് പിറന്നുവീണിരിക്കുന്നത്. തുറമുഖം എന്ന സിനിമ വർഷങ്ങളായി പ്രതിസന്ധികളോടg പോരാടിയാണ് തിയറ്ററിലെത്തിയിരിക്കുന്നത്. എന്നാൽ എത്ര കാലം കാത്തിരുന്നാലും അണയാത്ത തീയാണ് ‘തുറമുഖം’. ‘ബാറ്റിൽഷിപ് പോട്ടെംകിൻ’ പോലെയൊരു സിനിമ മലയാളത്തിനും സ്വന്തമായിരിക്കുന്നു. തുറമുഖം ഒരു കമേഴ്സ്യൽ സിനിമയല്ല. ഇത് മലയാളത്തിൽ ഇതുവരെ ഇറങ്ങിയിട്ടുള്ള ക്ലാസിക് സിനിമകളിൽ ഒന്നാണ്.

മട്ടാഞ്ചേരിയിൽ തൊഴിലാളികളെ തെരുവുനായ്ക്കളെപ്പോലെ പണിയെടുപ്പിച്ചിരുന്ന ചാപ്പ സമ്പ്രദായത്തിനെതിരെ പോരാടാനിറങ്ങിയവരുടെ ജീവിതമാണ് തുറമുഖം. കെ.എസ്. ചിദംബരൻ പണ്ടെഴുതിയ ‘തുറമുഖം’ എന്നൊരു നാടകം മാത്രമാണ് മട്ടാഞ്ചേരി കലാപത്തെക്കുറിച്ച് ഓർമപ്പെടുത്തുന്ന ഒരു കലാസൃഷ്ടി. ആ നാടകത്തെ സ്വതന്ത്രമായി സിനിമയിലേക്കു തിരക്കഥയെഴുതി പറിച്ചുനട്ടത് കെ.എസ്.ചിദംബരന്റെ മകൻ ഗോപൻ ചിദംബരമാണ്.

‘ഒരു അഡാർ ലവ്’ ഇല്ലായിരുന്നെങ്കിലും ഞാൻ നടിയാകുമായിരുന്നു; സിനിമയിലെ മറ്റുള്ളവരുടെ അനുഭവം പേടിപ്പിക്കുന്നു; പലതും തിരിച്ചറിഞ്ഞു’

‘ഈ മാറ്റത്തിനു പിന്നില്‍ മമ്മൂക്കയുടെ വാക്കുകൾ; ആ കഥാപാത്രം തരംഗമാകുമെന്ന് കരുതി, പക്ഷേ..; എന്റെ പിതാവ് ‘വാഴ’യിലെ നോബിയെപ്പോലെ’

‘നിങ്ങളുടെ പാട്ടാണ് എന്നെ ആത്മഹത്യയിൽനിന്ന് രക്ഷിച്ചത്’: ഗായത്രി ചോദിക്കുന്നു, ഹിപ് ഹോപിനൊപ്പം പരമ്പരാഗത സംഗീതവും വേണ്ടേ?

രാജീവ് രവിയുടെ ‘കമ്മട്ടിപ്പാട’ത്തെ കവച്ചുവയ്ക്കുന്ന ഒരു സിനിമയാണോ തുറമുഖം? കമ്മട്ടിപ്പാടവും തുറമുഖവും രണ്ടുതരം ജീവിതങ്ങളെക്കുറിച്ചാണ് പറയുന്നത്. കമ്മട്ടിപ്പാടം ആ മണ്ണിന്റെ കഥയാണ്. തുറമുഖം മണ്ണിൽ ജീവിക്കാനായി പൊരുതുന്ന മനുഷ്യൻ ചിന്തുന്ന വിയർപ്പിന്റെ കഥയാണ്. അവന്റെ പോരാട്ടത്തിന്റെ കഥയാണ്. ‘രാഷ്ട്രീയസിനിമ’യെന്ന പേരിൽ പൊയ്മുഖമണിയിച്ചു പുറത്തിറക്കുന്ന സിനിമകൾക്കു മുന്നിൽച്ചെന്നുനിന്ന് നട്ടെല്ലോടെ രാജീവ് രവി വിളിച്ചുപറയുകയാണ്: ‘ഇതാണ് ഒരു രാഷ്ട്രീയ സിനിമ.’

∙ നിസ്സംശയം പറയാം, ഗംഭീരം

നിവിൻ പോളിയുടെ കരിയറിലെ ഏറ്റവും മികച്ച കഥാപാത്രമാണ് തുറമുഖത്തിലെ മൊയ്തു എന്നു നിസ്സംശയം പറയാം. ഒരൽപം വില്ലത്തരവും അൽപം സ്നേഹവും അലിവും ഉള്ളിൽ സൂക്ഷിക്കുന്ന, മൈമുവിന്റെ മകൻ മൊയ്തുവായി നിവിൻ പോളി ജീവിക്കുകയാണ്. യുവതാരങ്ങളിൽ ഏറ്റവും ശ്രദ്ധേയനായി മാറുന്ന അർജുൻ അശോകന്റെ ഗംഭീരപ്രകടനമാണ് ചിത്രത്തിന്റെ നട്ടെല്ല്. ഒരു തൊഴിലാളിയുടെ നിസ്സഹായതകളെ അർജുൻ നോക്കിലും വാക്കിലും നടപ്പിലും കൃത്യമായി വരച്ചിടുന്നുണ്ട്.

മൈമുവെന്ന തൊഴിലാളി നേതാവായി ജോജുവിന്റെ ഗംഭീരപ്രകടനത്തോടെയാണ് ചിത്രം തുടങ്ങുന്നത്. കൊച്ചി തുറമുഖത്ത് തൊഴിലെടുക്കാനുള്ള അടയാളമായ ചാപ്പ കിട്ടാനായി പരസ്പരം തല്ലുകൂടുന്ന തൊഴിലാളികൾ. അവർക്കിടയിൽ മുതലാളിത്തത്തിനെതിരെ പ്രതികരിക്കുന്ന തൊഴിലാളിയായി തലയുയർത്തി നിൽക്കുന്ന മൈമു. കറുപ്പിലും വെളുപ്പിലുമായി പറയുന്ന ആ കഥയാണ് തുറമുഖത്തിന്റെ അടിസ്ഥാനശില. കാലം മാറിയപ്പോൾ ഇടനിലക്കാരന്റെ ഇടങ്ങളിലേക്ക് യൂണിയനുകൾ കടന്നുവരുന്നു. തൊഴിലാളികളുടെ അവസ്ഥ മാറ്റമില്ലാതെ തുടരുന്നു. ഇത്തരമൊരു കാലഘട്ടത്തിൽ ജീവിക്കാനായി വിയർപ്പൊഴുക്കുന്ന മൈമുവിന്റെ മക്കളുടെ കഥയാണ് തുറമുഖം. ജീവിക്കാനുള്ള അവകാശത്തിനായി തൊഴിലാളികൾ തുടങ്ങിയ പോരാട്ടം മട്ടാഞ്ചേരി വെടിവയ്പ്പിലേക്ക് എത്തിച്ചേർന്ന സംഭവങ്ങളാണ് മൂന്നുമണിക്കൂറോളം സമയമെടുത്ത് രാജീവ് രവി പറയുന്നത്.

പോരാട്ടങ്ങളിൽ മക്കളെ നഷ്ടപ്പെടുന്ന നൂറായിരം ഉമ്മമാർ തെരുവിലെ ചോരപ്പാടുകളിലൂടെ കരഞ്ഞുകൊണ്ട് ഓടിവരുന്ന ആ നിസ്സഹായതയിലേക്കാണ് രാജീവ് രവിയുടെ ക്യാമറ കണ്ണുതുറക്കുന്നത്. മാക്സിം ഗോർക്കിയുടെ അമ്മയെയാണ് പൂർണിമ ഇന്ദ്രജിത്ത് അവതരിപ്പിച്ച, കെ.എസ്.ചിദംബരന്റെ ഉമ്മ ഓർമപ്പെടുത്തുന്നത്. 1950 കളിലെ കഥയാണ് തുറമുഖം പറയുന്നത്. സുദേവ്, പൂർണിമ, നിമിഷ സജയൻ, ദർശന രാജേന്ദ്രൻ, മണികണ്ഠൻ ആചാരി, സെന്തിൽ തുടങ്ങിയവരുടെ ഏറ്റവും മികച്ച അഭിനയമുഹൂർത്തങ്ങളും തുറമുഖത്തെ മികവുറ്റതാക്കുന്നു. കെയും ഷഹബാസ് അമനും ഒരുക്കിയ സംഗീതം, അൻവർ അലിയും കൂട്ടരുമൊരുക്കിയ കവിതകൾ എന്നിവയെ തുറമുഖത്തിൽ അതിവിദഗ്ധമായി കൂട്ടിച്ചേർത്താണ് ബി. അജിത്കുമാർ എന്ന എഡിറ്റർ ഒരു ഇതിഹാസം നെയ്തെടുത്തിരിക്കുന്നത്. കരുത്തുറ്റ കഥ, കരുത്തുറ്റ ക്യാമറ, കരുത്തുറ്റ അഭിനേതാക്കൾ, കരുത്തുറ്റ സംവിധായകൻ എന്നിവർ ഒരുമിക്കുമ്പോൾ എന്തു സംഭവിക്കുമോ, അത് ഇവിടെയും സംഭവിച്ചിരിക്കുന്നു.

∙ ഇത് കാലം കാത്തുവച്ച കാവ്യനീതി

2020 ൽ പൂർത്തിയായ ചിത്രം 2021 ൽ റോട്ടർഡാം ഫിലിംഫെസ്റ്റിവലിലാണ് പ്രീമിയർ പ്രദർശനം നടത്തിയത്. എന്നാൽ തിയറ്റർ റിലീസ് മൂന്നു തവണ മാറ്റിവയ്ക്കേണ്ടിവന്നു. ഒടുവിൽ രണ്ടു വർഷത്തിനു ശേഷമാണ് തുറമുഖം തിയറ്ററുകളിലെത്തിയത്. പക്ഷേ തിയറ്ററിലെത്താൻ കാലം വൈകിയെന്ന തോന്നൽ തുറമുഖം കാണുമ്പോൾ തോന്നുകയേ ഇല്ല. ഇതാണ് തുറമുഖം റിലീസ് ചെയ്യേണ്ട കാലം. മറിച്ചൊരു തരത്തിൽ ചിന്തിച്ചാൽ ഇന്നത്തെ കാലഘട്ടം ആവശ്യപ്പെടുന്ന സിനിമയാണ് ‘തുറമുഖം’.

‘തുറമുഖം’ ഒരു ഓർമപ്പെടുത്തലാണ്. ഇന്നു പലരും നുണയുന്ന സൗഭാഗ്യങ്ങളൊന്നും ആരും തളികയിൽ കൊണ്ടുവന്നു നിരത്തിയതല്ല. മുതലാളിത്തവും ചൂഷകവർഗവും കാണിച്ച നെറികേടുകളോട് പൊരുതിയാണ് തൊഴിലാളികൾ പ്രസ്ഥാനത്തെ വളർത്തിയത്. ആ ഓർമപ്പെടുത്തലാണ് ‘തുറമുഖം’. ഭരത് പി.ജെ.ആന്റണി എഴുതിയ ‘മട്ടാഞ്ചേരി’ എന്ന വിപ്ലവഗാനത്തിലെ ആ നാലു വരികൾ നെഞ്ചുപൊട്ടി പാടിക്കൊണ്ടാണ് തുറമുഖം അവസാനിക്കുന്നത്. ഇതാണ് ആ വരികൾ..

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Thuramukham Streaming on SonyLiv Review: A Forgotten Chapter From Kerala’s History Gets A Powerful Reminder With This Rajeev Ravi Film

Director: Rajeev Ravi

Writer: Gopan Chidambaran(dialogue)

Cast: Nivin Pauly , Poornima Indrajith, Indrajith Sukumaran

Spoilers ahead…

There’s a lot one can understand about the essence of Rajeev Ravi’s  Thuramukham  just by the way it sets up its two major “hero introduction” scenes. Set in two time periods, across two generations of a family, these scenes show how differently a father and his son react to the same predicament. The scene shows the exploitative token system in which coins ( chaapa ) are tossed at dock workers, giving them the right to work at the harbour for a day. Maimu (an excellent Joju George ) comes across as a man who tries to deal with his crushing reality, with a friend comparing this act of token-tossing to how dogs are fed. Maimu stands in line, understands the injustice and grapples with the idea of remaining a passive participant.

His son Moidu (Nivin Pauly), though feels more at ease with this system. There’s a heroism in the way he’s able to use his physical strength to dive for these tokens and you see this even more when he’s able to share an extra token to a friend. There’s a half smile on his face too as he walks back with his daily  chaapa , hinting that he’s accepted the practice, arguably because he doesn’t see another option. The unfairness continues from father to son with only the faces around changing, apart from a small increase in the wage from annas to rupees as the film transforms from black and white to colour.  

Yet the film’s cynical spirit is more in line with what Maimu is able to foresee for himself and family. As he sits on the dock at night after a traumatic day, you sense him accepting his fate and that of his children. His brute force is not enough to protect his family, let alone secure their future, and as he stares hopelessly at the flowing river, incapable of turning his family’s saviour, we also see the beginning of a whirlpool of injustice that is impossible to swim out of. 

The same reproach is mirrored in that scene in which Maimu’s wife (Poornima Indrajith in one of her best. A scene in which she witnesses her son’s rowdy ways reminded me of her in  Randam Bhavam ’s ‘Maranittumengilo’) simply goes to bed that night. With her kids sleeping right next to her, the blankness on her face shows the weight of her truth in which she cannot even afford to cry. 

As we move ahead in time to join this family after the children have grown up, you sense that her sons have more options, even if they are minimal. This period too coincides with India gaining its freedom (although the period isn’t established specifically), which calls for changes that are bound to affect everyone. This is where we see the two brothers (Nivin playing Moidu and Arjun Ashokan as Hamsa) and the two paths they have in front of them. Moidu hopes his strength will help him remain above his fate. He colludes with those with power but only to fuel his decadence. He shifts away from his family and instead becomes a part of the very system that suppressed him and his people before.

Hamsa, the younger brother, chooses the political route to escape oppression. With new unions maintaining status quo despite making fresh promises, Hamsa realises that it is only through political participation that he will see any real change. As we see the film interject between the two brothers and their respective paths, we get several instances where we’re made to understand their father Maimu through the actions of his sons. Fate may have forced Maimu to live (and die) like his son Moidu but you see more of him in Hamsa. Maimu perhaps did not have the option his sons did and from the looks of it (he shuts up his children as they’re shouting a particular slogan), he too may have wanted the world Hamsa hopes for. 

And the film itself is easier to approach with the temperament of reading a novel, which is surprising given how  Thuramukham  is based on a play that was widely performed in the 50’s and later. We switch between the brothers and several smaller characters, coalescing to create an unending loop of tragedies. The detailing is so rich and pristine that you want to remain still and hold on to moments; an example of this is a tiny scene in which we see their mother’s job. Even as the content itself gives us enough to think about, we’re also forced to remember that there was such a job as that of a rice picker’s, whose duty it was to pick up fallen rice, one grain at a time. Details such as these keep the internal world of the family just as relevant as the external world of the workers and their rights.

Which is what the film does so well by denying us any simplistic resolutions to their plight or dramatic highs. In a film where the central villain remains a group of people (including businessmen, politicians and the police) that keep changing even if their affect remains the same, we realise that it is the protagonist Moidu that creates the maximum damage to both his family and people. His interventions (or the lack of it), create obstacles for his ilk and even when he realises the folly of his ways, it’s too late to turn around and make a difference. But even when we see the two brothers and where their paths eventually lead them to, the difference remains who they have left at home, crying for them.   

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ചരിത്രത്തോട് സത്യസന്ധത പുലർത്തി 'തുറമുഖം', റിവ്യൂ; Thuramukham Movie Review & Rating

യുദ്ധങ്ങളുടെയും പോരാട്ടങ്ങളുടെയും നിസ്സഹായരായ ഇരകൾ എപ്പോഴും സ്ത്രീകളും കുട്ടികളുമാണെന്നു പറയാറുണ്ട്, ആ ദൈന്യതയെ കണ്ണുകളിൽ പേറുന്നുണ്ട് ഉമ്മ. ഒരിടവേളയ്ക്കു ശേഷമുള്ള തന്‍റെ തിരിച്ചുവരവ് ഗംഭീരമായി രേഖപ്പെടുത്തുകയാണ് പൂർണിമ: thuramukham movie review & rating.

Thuramukham Movie Review & Rating: മട്ടാഞ്ചേരിയുടെ പോരാട്ടചരിത്രത്തെ സത്യസന്ധമായി സമീപിക്കുകയാണ് രാജീവ് രവി സംവിധാനം ചെയ്ത 'തുറമുഖം.' കൊച്ചിയില്‍ 1962 വരെ നിലനിന്നിരുന്ന ചാപ്പ തൊഴില്‍ വിഭജന സമ്പ്രദായവും അത് അവസാനിപ്പിക്കാനായി പതിറ്റാണ്ടുകളോളം തൊഴിലാളികള്‍ നടത്തിയ പോരാട്ടവുമാണ് ചിത്രം പറയുന്നത്. കൊച്ചി തുറമുഖത്തെ ആശ്രയിച്ച് ഉപജീവനം നടത്തുന്ന ഒരു പറ്റം തൊഴിലാളികളുടെയും അവരുടെ ചെറുത്തുനിൽപ്പിന്‍റെയും കഥയ്ക്ക് സമാന്തരമായി തുറമുഖത്തെ തൊഴിലാളികളിൽ ഒരാളായ മട്ടാഞ്ചേരി മൊയ്തുവിന്‍റെയും കുടുംബത്തിന്‍റെയും കഥയും പറഞ്ഞുപോവുകയാണ് ചിത്രം.

മൊയ്തുവിന്‍റെ പിതാവായ മൈമ്മൂദിൽ നിന്നുമാണ് ചിത്രത്തിന്‍റെ കഥ ആരംഭിക്കുന്നത്. തൊഴിൽ തേടി തിരൂരിൽ നിന്നും കൊണ്ടോട്ടിയിൽ നിന്നുമൊക്കെ കൊച്ചിയിലെത്തി ചേർന്ന നൂറുകണക്കിന് തൊഴിലാളികളിൽ ഒരാളാണ് മൈമ്മൂദും. ധാരാളം കപ്പലുകളെത്തുന്ന, തൊഴിലിനു ക്ഷാമമില്ലാത്ത ഒരിടം എന്നതായിരുന്നു കൊച്ചി തുറമുഖത്തിന്‍റെ ആകർഷണം. എന്നാൽ തീർത്തും മനുഷ്യത്വരഹിതമായ രീതിയിലുള്ള ചാപ്പ സമ്പ്രദായത്തിലായിരുന്നു ആ തുറമുഖത്തെ ജോലികൾ വിഭജിക്കപ്പെട്ടിരുന്നത്. ആത്മാഭിമാനം പണയം വച്ച് കങ്കാണിമാര്‍ എറിയുന്ന ചാപ്പയ്ക്കു വേണ്ടി തൊഴിലാളികൾ കാത്തുകിടന്നു.

പണിയില്ലാതെയും ജീവിക്കാൻ പണമില്ലാതെയും വലം കെട്ടപ്പോൾ അവർ ചോദ്യങ്ങൾ ഉന്നയിച്ചു തുടങ്ങി. ചെറുത്തുനിൽപ്പിന്‍റെ രാഷ്ട്രീയം തുടങ്ങി വയ്ക്കുന്നത് മൈമ്മൂദാണ്. അതിന് അയാൾക്ക് വലിയ വിലകൊടുക്കേണ്ടിയും വരുന്നു. വർഷങ്ങൾക്കിപ്പുറം മൈമ്മൂദിന്‍റെ മക്കളായ മൊയ്തുവും ഹംസയും അതേ തുറമുഖത്ത് തന്നെ ജീവിതം കരുപിടിപ്പിക്കാൻ നോക്കുന്നു. പക്ഷേ, തൊഴിലാളി വർഗ്ഗത്തെ ചൂഷണം ചെയ്യുന്ന കരാറുകാരും മുതലാളിമാരും യൂണിയൻ നേതാക്കളുമെല്ലാം മൊയ്തുവിന്‍റെയും ഹംസയുടെയും തൊഴിലാളി സമൂഹത്തിന്‍റെയും ജീവിതം ദുസ്സഹമാക്കുകയാണ്. മാന്യമായി ജീവിക്കാനുള്ള അവകാശങ്ങൾക്കു വേണ്ടി ആ തൊഴിലാളികൾക്ക് നിരന്തരം പോരാടേണ്ടി വരുന്നു. ചെറുത്തുനിൽപ്പുകളിലൂടെയും സമരങ്ങളിലൂടെയും മർദ്ദനങ്ങളേറ്റും മട്ടാഞ്ചേരിയിലെ തൊഴിലാളി സമൂഹം ചാപ്പ വിഭജനത്തെ തുരത്തിയ ആ ചരിത്രത്തെയാണ് 'തുറമുഖം' തുറന്നു കാണിക്കുന്നത്.

ശക്തമായൊരു തിരക്കഥയും അഭിനേതാക്കളുടെ മികവേറിയ പ്രകടനവുമാണ് ചിത്രത്തിന്റെ പ്ലസ്. മട്ടാഞ്ചേരി മൊയ്തു എന്ന കഥാപാത്രത്തെ കയ്യടക്കത്തോടെ അവതരിപ്പിക്കുന്നുണ്ട് നിവിൻ പോളി. നായകനെന്നതിനേക്കാൾ അൽപ്പം നെഗറ്റീവ് ഷെയ്ഡുള്ള കഥാപാത്രമാണ് നിവിന്‍റെ മൊയ്തു. ഉമ്മയായി എത്തുന്ന പൂർണിമ ഇന്ദ്രജിത്താണ് ചിത്രത്തിലെ ഏറ്റവും ശക്തയായ കഥാപാത്രങ്ങളിൽ ഒന്ന്. ഒരു സ്ത്രീയുടെ ജീവിതത്തിലെ പല കാലഘട്ടങ്ങളെ മികവോടെ അവതരിപ്പിക്കുന്നുണ്ട് പൂർണിമ. യുദ്ധങ്ങളുടെയും പോരാട്ടങ്ങളുടെയും നിസ്സഹായരായ ഇരകൾ എപ്പോഴും സ്ത്രീകളും കുട്ടികളുമാണെന്നു പറയാറുണ്ട്, ആ ദൈന്യതയെ കണ്ണുകളിൽ പേറുന്നുണ്ട് ഉമ്മ. ഒരിടവേളയ്ക്കു ശേഷമുള്ള തന്‍റെ തിരിച്ചുവരവ് ഗംഭീരമായി രേഖപ്പെടുത്തുകയാണ് പൂർണിമ.

അർജുൻ അശോകനാണ് പ്രകടനം കൊണ്ട് മികച്ചു നിൽക്കുന്ന മറ്റൊരാൾ. നന്മയും അലിവുമുള്ള നിസ്സഹായതകളിലൂടെ കടന്നു പോവുന്ന ഹംസയെന്ന ചെറുപ്പക്കാരൻ അർജുന്‍റെ കയ്യിൽ ഭദ്രമാണ്. നിമിഷ സജയൻ, ദർശന രാജേന്ദ്രൻ, സുദേവ് നായർ, ഇന്ദ്രജിത്ത്, ജോജു ജോർജ്, മണികണ്ഠൻ ആചാരി തുടങ്ങിയവരും പ്രകടനത്തിൽ മികവു പുലർത്തുന്നുണ്ട്.

സ്ലോ പെയ്സിലാണ് ചിത്രത്തിന്‍റെ സഞ്ചാരം. ചരിത്രത്തിനെ കൃത്യമായി രേഖപ്പെടുത്തുന്നതിനൊപ്പം തന്നെ കഥാപാത്രങ്ങളുടെ മാനസിക വ്യാപാരങ്ങളെയും കൃത്യമായി രേഖപ്പെടുത്തിപ്പോവുന്നുണ്ട് ഗോപൻ ചിദംബരത്തിന്‍റെ തിരക്കഥ. അച്ഛന്‍ കെ എം ചിദംബരന്‍ രചിച്ച 'തുറമുഖം' എന്ന നാടകത്തെയാണ് ഗോപന്‍ സിനിമയ്കായി തിരക്കഥയാക്കിയിരിക്കുന്നത്. കാലഘട്ടങ്ങൾക്ക് അനുസരിച്ചുള്ള കളർ ഗ്രേഡിങ്ങ് ആണ് ചിത്രത്തിന്‍റെ മറ്റൊരു പ്രത്യേകത. ബ്ലാക്ക് ആൻറ് വൈറ്റ് ടോണിലാണ് ചിത്രം അതിന്‍റെ ചരിത്രപരമായ പശ്ചാത്തലത്തെ പ്രേക്ഷകർക്ക് പരിചയപ്പെടുത്തുന്നത്. രാജീവ് രവിയെന്ന സംവിധായകന്‍റെ ക്രാഫ്റ്റിലും ഛായാഗ്രഹണത്തിലുമുള്ള മികവു കൂടി ചേരുമ്പോൾ 'തുറമുഖം' വേറിട്ടൊരു ആസ്വാദനം സമ്മാനിക്കുന്നു.

1920 മുതൽ 1950കൾ വരെയുള്ള കാലഘട്ടത്തിനോട് നീതി പുലർത്തുന്ന രീതിയിലാണ് ചിത്രത്തിന്‍റെ ആർട്ട് ഒരുക്കിയിരിക്കുന്നത്. ഗോകുല്‍ ദാസാണ് കലാസംവിധാനം നിർവ്വഹിച്ചത്. ബി. അജിത്കുമാർ എഡിറ്റിംഗും ഷഹബാസ് അമൻ സംഗീതസംവിധാനവും നിർവ്വഹിച്ചിരിക്കുന്നു. സുകുമാർ തെക്കേപ്പാട്ടും ജോസ് തോമസും ചേർന്നു നിർമ്മിച്ച 'തുറമുഖം' പ്രദർശനത്തിന് എത്തിച്ചിരിക്കുന്നത് ലിസ്റ്റിൻ സ്റ്റീഫന്‍റെ ഉടമസ്ഥതയിലുള്ള മാജിക് ഫ്രെയിംസ് ആണ്.

പലരും മറന്നുതുടങ്ങിയ ചരിത്രത്തിലേക്കും പോയ കാലത്തിലേക്കുമുള്ള ഒരു തിരിച്ചുനടത്തമാണ് 'തുറമുഖം' സാധ്യമാക്കുന്നത്. ഒപ്പം കേരളത്തിന്‍റെ തൊഴിലാളി സമര ചരിത്രത്തിലെ സമാനതകളില്ലാത്ത ചെറുത്തുനില്‍പ്പിനെയും ഓർമ്മപ്പെടുത്തുന്നു. 1953 സെപ്റ്റംബർ 15 ന് മട്ടാഞ്ചേരിയുടെ തെരുവിൽ പൊലീസ് വെടിവപ്പിൽ പൊലിഞ്ഞ സമരക്കാർക്കാണ് ചിത്രം സമർപ്പിച്ചിരിക്കുന്നത്.

എന്റർടെയിനർ വാല്യുവിനും കൊമേഴ്സ്യൽ വാല്യുവിനും വേണ്ടി സിനിമ ഒരിടത്തും കോംപ്രമൈസ് ചെയ്യുന്നില്ല. അതു കൊണ്ടു തന്നെ എല്ലാതരം പ്രേക്ഷകരെയും തൃപ്തിപ്പെടുത്തുന്ന ചിത്രമായി 'തുറമുഖ'ത്തെ കാണാനാവില്ല. എന്നാൽ സിനിമയെ ഗൗരവത്തോടെ സമീപിക്കുന്ന പ്രേക്ഷകർക്ക് 'തുറമുഖം' വേറിട്ടൊരു കാഴ്ചാനുഭവമായി മാറും.

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'Thuramukham' Review: A powerful ode to struggle against chaapa system in Mattancherry

The picture-perfect streets, the colonial-style architecture and the sound of the nearby sea can cast a spell on anyone visiting Mattancherry. But what many may not know is that its quaint streets once reverberated with the violent struggles of labourers who worked in Mattancherry port.

Nivin Pauly-starrer 'Thuramukham' is a peek into this violent past and a powerful ode to the heroes of the labour union who fought against the unjust 'chaapa' system.

The struggles of the working class, the stark poverty and the cruelty of the system, which guaranteed work to only those who caught the chappa (copper coins) flung at them, have been captured well in this poignant tale directed by Rajeev Ravi, whose previous works include the critically-acclaimed film 'Kammatipaadam'.

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What's interesting is how the makers have weaved a compelling family drama into the narrative, which is based on true-life incidents. Umma, played by Poornima Indrajith, lives in the heart of Mattancherry along with her three children – Moidu (Nivin Pauly), Hamsa (Arjun Ashokan) and Kaachi (Darshana Rajendran). Mymood (Joju George), the patriarch, is forced to leave the area because he raised his voice against the work-site supervisor 'moopan'. The moopans are part of the nexus that ensured the 'Chaapa system' prevailed in the harbour. When he leaves, Umma is forced to bring up the children on her own.

While the elder son Moidu becomes a leader of a gang working for the cruel contractors, Hamsa grows up to become a sensitive man who cares for his family. He soon joins a union fighting against the Chappa system.

The performances are gripping. Poornima, who has been away from the silver screen for some time now, gets to play a meaty role as a mother who struggles to keep the house functioning despite all odds. She plays a woman, first in her 30s and then in her 60s, both of which she has juggled with ease.

Nivin Pauly, who had been struggling without major hits for the past few years, is wonderful as the crude, impulsive, and sometimes insensitive Moidu, who represents a section of people devoid of morals and purpose in life. His love for Umani (Nimisha Sajayan) is mixed with lust and care.

Though Nivin excels in his role, it is Arjun Ashokan who steals the show. He carries off the gentleness and strength of his character like a seasoned actor.

Sudev Nair, known for his negative charecters in 'Bheeshma Parvam' or 'Kothu', shines as Pacheek.

The storyline by Gopan Chidambaram, is solid, laying bare the stark reality of life, without much melodrama. The narration is slow-paced and jerky at times. However, the performances and the different layers that the film explores keep us engaged. The initial black and white frames bode well with the mood of the story. It soon transforms into colour, to signify the passage of time. tell the audience that time has flown by. The spirit of Kochi, the sea and its noise, seep into the music by K Shahabaz Aman. Overall, the narrative, though slow-paced, will charm its way into our hearts.

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Review of Malayalam movie Thuramukham, starring Nivin Pauly, Poornima Indrajith, Arjun Ashokan, and Joju George in lead roles. Directed by Rajeev Ravi. REVIEW BY ARUNJYOTHI R

•Language: Malayalam   

•Duration: 02 Hours 54 Minutes. 

•Genre: Historical Drama. 

• POSITIVES: 

1: Direction 

2: Story, Screenplay and Dialogues 

3: Performances of actors. 

4: Cinematography 

5: Editing 

6: Action Sequences.

7: Art Direction

1: Background Score. 

2: Average songs.  

3: Slow-paced narration. 

4: The duration of the film. 

• ONE WORD : A bold and brilliant portrayal of communism. 

• STORY IDEA : 

The plot of Thuramukham deals with the ‘Chappa’ system which happened during the 40s and 50s in the seaport of Kochi. It is a kind of federal practice performed by the port authorities, ‘Mooppans’ and rich landlords. The chopper coins will be thrown at workers and the ones who got the coins will get the chance to work and in the end, they will be only paid less. Eventually, the labourers will be joined together and will build a trade union to fight against this tedious system. 

•DETAILED REVIEW : 

Thuramukham is directed by Rajeev Ravi and written by Gopan Chidambaran. The movie is produced by 

Sukumar Thekkepat, Jose Thomas and Listin Stephen under the production companies of Thekkepat Films, Collective Phase One and Queen Mary Movies. The movie is distributed by Magic Frames and with U/A censor certification the movie is currently running in theatres. 

The direction of Rajeev Ravi always follows a unique method of realistic filmmaking and in ‘Thuramukham’ also Rajeev Ravi follows the same procedure. And I would say I enjoyed the film but it won’t be everyone’s cup of tea because the movie pursues a slow-paced making in an actual realistic manner. The commercial entertaining factors are less in ‘Thuramukham’, the movie strongly focuses on the real incident of the ‘Chappa’ system and ‘Mattancherry’ firing accident which happened in the land of Kerala during the 40s and the 50s. I watched the film along with my friends and the dramatic style of this film was not holding and grabbing some of their attention. So like I said, for those who are fond of Rajeev Ravi’s movies I am sure ‘Thuramukham’ will be a cinematic treat. 

The politics which the film discussed were presented authentically by both the writer and director. The entire story and screenplay were strongly and carefully written and the execution by Rajeev Ravi had done total justice for the script. There are several characters in the film and each of the characters was written with actual depth. The characters played by Poornima Indrajith, Nivin Pauly, Arjun Ashokan, Sudev Nair, Joju Geroge and Nimisha Sajayan were excellently written out. The impact which these characters create on the screen was enormous because their written characters were perfectly matching the real-life incident of the ‘Chappa’ system. So the writer Gopan Chidambaran brought some attention-grabbing fictional characters and he carefully blended these characters into the real-life scenarios of the ‘Chappa’ system. And the writer had also made the correct route to match these characters with the real-life incident of police fire shootout that happened in Mattancherry. So the story was strong enough to lift the movie and also the well-balanced screenplay with the direction of Rajeev Ravi had given a pleasant cinematic experience. 

The screenplay was also amazing, the happening and the occurrences in the film are plenty and every scene was written out rightly without getting off balance. The movie starts with the scenes of Jojo Geroge and it was presented in a black-and-white style. I really liked that back-and-white tone, it indicated the old period and had given an extra appeal to the theatre experience. The beginning portions of the film with Jojo Geroge were powerful and they had made a strong influence on my watching. So after the introduction, I got the actual idea about how this movie is going to be and what it will be trying to convey. The initial impression grabbed my attention and after the appearance of Nivin Pauly, Poornima Indrajith (as an old mother), Arjun Ashokan, Nimisha Sajayan and Sudev Nair the movie started to get more interesting. The family sentiments, rivalries of rich people and labourers, political principles of communism, and the fight for justice were crammed into the screenplay. And each of these factors was beautifully directed by Rajeev Ravi and I was excited to know the ultimate climax. 

Poornima Indrajith as the mother did a terrific performance, among the actors her performance was the best. Her natural acting and sharp dialogue delivery in a natural manner was brilliant. Nivin Pauly as Moidu did great acting in the film, his expressions and ruthless attitude had given a big impact on the film. His combination scenes with Arjun Ashokan, Nimisha Sajayan, Sudev Nair and Poornima Indrajith come out flawlessly. The negative shade in the character of Nivin Pauly was surprising and he handled it perfectly. Arjun Ashokan had a major screen pace and his emotional scenes exhibited his acting skills. Sudev Nair did the villain role and throughout the film, he contrived the shadiness of a rich and cunning villain. Nimisha Sajayan as Umani also did complete justice to her character, the looks and the natural acting were seen in the whole performance. Joju Geroge appeared at the beginning of the film and his dominating performance helped the film to get a good interesting start. Indrajith Sukumaran had also done a good job, his acting and action sequences were praiseworthy. So overall the film Thuramukham is enriched with the intelligent acting of every actor. 

The technical side of the film was also good, especially the cinematography by the director Rajeev Ravi. There are various beautiful frames in this film, the periodical times of the 40s and 50s can be seen in the film like the real ones. The artwork department had done an outstanding job to bring the old times of the 90s. So the cinematography by Rajeev Ravi rightly matched to set the premise of the film and he brought accurate shots and frames. The stunt scene was captured amazingly, and all the action sequences looked fabulous to set a small thrilling mood. In the film, we will be able to see lots of close-up frames, the natural acting was seen in those close-up shots. The dark shots and indoor sequences are made fabulously without any errors with accurate lighting methods. The atmosphere of this film is unique, the struggle of labourers and their living conditions had made a big impact to set the mood. I was hooked by those visuals and till the end, Rajeev Ravi maintained the same flow in his camera work. The climax shootout scene was awesome and the visuals will make our eyes and mind disturb, it’s raw and realistic. The editing by B. Ajithkumar was also fine but the long duration of nearly three hours created some lag. I wish he could have trimmed some scenes for smooth engaging watching. The colour-grading needs to be specially mentioned because it had given an extra feel and was pleasing for the eyes. 

The musical works in the film were not that great for my viewing, I didn’t like the background score. In many scenes, I wish the film had some good tunes to make the scenes more engaging. The lack of a good background score was felt in my sense and I think if the film had some catchy background scores it could have helped to reduce the lag for common viewers. The song ‘Karakkenne Thanichakkeettu’ was good but it reminded me of the tunes of some folk-type song. As I mentioned above, the movie has a slow-paced narration so I doubt whether the movie will be engaging for the common viewers. The story takes its time to establish the main events so the chances of getting a lag are plenty. Also, the duration is nearly three hours so if normal viewers are getting bored no one can blame anyone. 

• CONCLUSION :

So to conclude, personally I loved ‘Thuramukham’, the film is raw and realistic and I will recommend this film to those who only love to watch intense political dramas. The movie brilliantly exhibits the struggles of poor labourers, and the ‘Chappa’ system which was held in Kerala during the ’90s is shown through ‘‘Thuramukham’ flawlessly. The direction of Rajeev Ravi and the script of Gopan Chidambaran deserves big applause and the performance of the actors in the film are a treat to watch. The real communist ideologies and the true face of the Mattancherry shootout are fearlessly shown in ‘Thuramukham’ and it is something which should be watched. Therefore, ‘Thuramukham’ is one of the best movies I have watched this year and I’m sure the efforts behind this well-crafted film will get real desired acknowledgements. 

• VERDICT:  An intense political flick with brilliant making. 
• RATING: 4/5
• A Review by ARUNJYOTHI. R

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Thuramukham Movie Review (2023)

• 10 Mar 2023

Rajeev Ravi's 'Thuramukham' (Nivin Pauly, Arjun Ashokan) is a strong, unsparing 360-degree view of a workers' struggle

Thuramukham Movie Cast & Crew

Stylistically speaking, Rajeev Ravi's Thuramukham can be seen as a companion piece to his earlier film, Kuttavum Shikshayum . The latter was a police drama – an interstate cops-and-robbers story – that ditched easy thrills for rock-solid procedural detail. It was not a glamorous script about supercops. We got to see, step by incremental step, what an investigation is really like. In Thuramukham , we get to see what the building of a workers' movement is really like. Again, Rajeev (with his writer, Gopan Chidambaran) resists simple glamorisation. This is not about the making of a hero who single-handedly made the movement. The film is about solidarity ("all of us will be equal") and thus, everyone is a hero. You don't get the full grasp of this incremental design until you see that the rousing speech at the end is given not by the characters played by Nivin Pauly or Arjun Ashokan or Indrajith Sukumaran, but by someone else, someone who registered, earlier, as a minor player. It's like how a tail-ender might end up saving a match after the star batsmen have fallen.

The story is set against the backdrop of a workers' struggle, which centres on the casual and cruel system of labour allocation at the Mattancherry harbour in Kochi during the 1940s/50s. The workers would gather in front of their masters, who would throw metal tokens into the air – like throwing chunks of meat into a sea filled with sharks. And then, they'd sit back and watch the feeding frenzy as every worker tried to grab a token. What an inhumane system! If you didn't grab a token, you weren't allowed to work in the harbour that day – and it all came down to how strong and agile you were while those tokens were being thrown. Various unions were formed subsequently (some pro-workers and some pro-bosses), and this chain of events led to a police firing in 1953 that claimed the lives of three workers. That's the spark.

With Nivin Pauly and Arjun Ashokan playing brothers on opposite sides of this workers' struggle – i.e., on opposite sides of dharma , so to speak – you expect Deewar -like dramatic fireworks. But Rajeev deliberately de-dramatises every emotional possibility: whether it's the faint contours of a love triangle, or a sister suffering from a serious illness. I don't recall a recent film with a more powerful and star-packed cast: a strong and smouldering Nivin Pauly, along with Indrajith Sukumaran, Joju George, Sudev Nair, Manikandan Achari, Darshana Rajendran, Nimisha Sajayan, and a particularly excellent Arjun Ashokan and Poornima Indrajith. But they are all – in true Communist spirit – a part of the collective. A different film would have amped up, say, the grand echo of a father and a son dying the same way. But whether it's the music or the fights, nothing is allowed to become big enough to stand out. It's almost always single instruments (a guitar, a clarinet) until the huge action set piece at the end: as all the workers unite, all the instruments unite and become a symphony.

Like in Kuttavum Shikshayum, no detail is too small to be discarded: wrestling matches, a bangle that keeps reappearing, a money-lending Jewess, migrants from other troubled lands, or a ship filled with Russians. And the screenplay churns with blunt-force repetition. The tokens are thrown. Workers lunge at them. The ones lucky enough to grab a token go in lines to gather coal or whatever else the ships bring in. Then they return to the token-throwing room to stand in line for their meagre wages. Sometimes, one of them gets angry and protests. Sometimes, there are processions with extremely specific and carefully worded slogans. (Sample: "Who painted the Communist flag red with his blood?") Other times, the slogan is just "Inquilab zindabad." And then we go back to square one, with the tokens being thrown and the workers lunging at them. And again. And again. 

This repeating series of events becomes numbing after a point, especially in a film that lasts almost three hours – and I missed the sharp, vivid character strokes from Kuttavum Shikshayum , or Vada Chennai , to take another film that talked about similar issues in a more mainstream fashion. But again, I think this is by design. The unrelenting (i.e. numbing) sameness also reinforces how many times all of this was done before the big bang that closes the film. Rajeev doesn't just want us to watch . He wants to immerse us in this reality. He wants us to experience it. If we grow numb just watching these events, imagine how much the workers would have suffered while endlessly enduring them. But yes, there are snatches of emotional release. Thuramukham is a movie about these workers, these men - but it opens with a woman screaming and closes with the same woman screaming for a different reason. The grand echo we did not get with the father and son, we get with the mother.

The men are fighting for survival, for their families, and the women wait and wait for a new dawn. (That's their version of numbing reality.) They wait for the alcoholism to stop. They wait for the violence to end. They wait for money that will keep the home fires burning. At the end of a scene, a mother's eyes go upwards – towards the skies, towards heaven. Without a word being uttered, we realise that the gesture is an angry question: When, O Allah, will the misery end? The gesture is also a quiet statement: In the absence of divine or man-made intervention, these women just have to carry on. In other words, like Kuttavum Shikshayum, Thuramukham gives us a 360-degree view of an ecosystem. In Kammatipaadam , Rajeev Ravi took an issue and wove a "story" around it. Now, the issues are the story, and the various steps and processes in them have become the chapters. He's weaving tapestries of a particular place, a particular time. Nivin Pauly should be congratulated for lending his stardom to movies like Moothon and this one, where he is not treated like a star. Hits will come and go, but these are the films that will last.

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• About The Author
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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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കണ്ടറിയേണ്ട സമര ചരിത്രം; 'തുറമുഖം' റിവ്യൂ

റിയലിസത്തോട് ചേര്‍ന്ന് നിന്നാണ് രാജീവ് രവി എപ്പോഴും സിനിമകള്‍ എടുത്തിട്ടുള്ളത്. എന്നാല്‍ ഒരു നേര്‍ ചരിത്രത്തെ അദ്ദേഹം ആദ്യമായാണ് സിനിമയാക്കുന്നത് എന്നതാണ് തുറമുഖത്തിന്‍റെ പ്രത്യേകത.

പത്ത് വര്‍ഷം കൊണ്ട് സംവിധാനം ചെയ്തത് അഞ്ച് ചിത്രങ്ങള്‍ മാത്രം. പക്ഷേ ആ ചിത്രങ്ങളിലൂടെ രാജീവ് രവി സൃഷ്ടിച്ചെടുത്ത ലോകങ്ങള്‍ അദ്ദേഹത്തിന്‍റെ സമകാലികരായ മറ്റു സംവിധായകരുടേതില്‍ നിന്നൊക്കെ തികച്ചും വിഭിന്നമാണ്. ട്രെന്‍ഡുകള്‍ക്കൊപ്പം ഓടിയെത്താന്‍ ഒരിക്കലും ശ്രമിച്ചിട്ടില്ലാത്ത രാജീവ് രവി തന്‍റെ കഥാപാത്രങ്ങളിലൂടെ അവര്‍ ജീവിച്ച സമൂഹത്തെക്കൂടി അവതരിപ്പിക്കാനാണ് എപ്പോഴും ശ്രമിച്ചിട്ടുള്ളത്. അത് കുറച്ചുകൂടി വലിയ കാന്‍വാസില്‍, വലിയ കാലദൈര്‍ഘ്യത്തില്‍, എപ്പിക് സ്വഭാവത്തോടെ അവതരിപ്പിച്ചിരിക്കുകയാണ് തുറമുഖത്തില്‍.

കമ്മട്ടിപ്പാടം, ഒരു നഗരമെന്ന നിലയില്‍ കൊച്ചി വളര്‍ന്നുവന്നപ്പോള്‍ അന്യവല്‍ക്കരിക്കപ്പെട്ട ഒരു പറ്റം  മനുഷ്യരുടെ കഥയായിരുന്നെങ്കില്‍ തുറമുഖം, മട്ടാഞ്ചേരി എന്ന പ്രദേശത്തിന്‍റെ രാഷ്ട്രീയ ചരിത്രമാണ്. 1930 കള്‍ മുതല്‍ 1950 കളുടെ തുടക്കം വരെയുള്ള കൊച്ചി തുറമുഖത്തിന്‍റെയും അതിനെ ഉപജീവിച്ച് കഴിഞ്ഞിരുന്ന തൊഴിലാളി സമൂഹത്തിന്‍റെയും കഥയാണ്. കേരളത്തിന്‍റെ തൊഴിലാളി വര്‍ഗ സമര ചരിത്രത്തില്‍ വേണ്ട രീതിയില്‍ അടയാളപ്പെടുത്താതെപോയ, കൊച്ചി തുറമുഖത്തിലെ ചാപ്പ സമ്പ്രദായത്തിനെതിരായ സമരവും അതിനെതിരെ നടന്ന പൊലീസ് വെടിവെപ്പുമൊക്കെ പശ്ചാത്തലമാക്കുന്ന ചിത്രം രാജീവ് രവി ആദ്യമായി ചെയ്യുന്ന ഹിസ്റ്റോറിക്കല്‍ ഡ്രാമയാണ്. 1930 കളില്‍ കൊച്ചി തുറമുഖത്തിന്‍റെ തുടക്ക കാലത്തുനിന്ന് ആരംഭിച്ച്, 1953 ലെ മട്ടാഞ്ചേരി വെടിവെപ്പ് വരെയുള്ള ടൈം സ്പാനില്‍ രാജീവ് രവി അവതരിപ്പിച്ചിരിക്കുന്നത് മലയാളത്തിന്‍റെ ബിഗ് സ്ക്രീന്‍ ഇന്നുവരെ കണ്ടിട്ടില്ലാത്ത കാഴ്ചയും അനുഭവവുമാണ്.

കഥാപാത്രങ്ങളേക്കാള്‍ കഥയ്ക്ക് പ്രാധാന്യമുള്ള സിനിമയാണ് തുറമുഖം. എന്നാല്‍ രാജീവ് രവി അവതരിപ്പിച്ചിരിക്കുന്ന കഥാപാത്രങ്ങള്‍ക്കൊക്കെയും മിഴിവും ആഴവുമുണ്ട്. 1930 കളില്‍ കൊച്ചി തുറമുഖത്തെ തൊഴിലാഴിയായിരുന്ന മൈമുവിന്‍റെ കുടുംബമാണ് കഥയുടെ കേന്ദ്ര സ്ഥാനത്ത്. പ്രത്യയശാസ്ത്രപരമായ അവബോധമൊന്നുമല്ലെങ്കിലും തനിക്കൊപ്പം പണിയെടുക്കുന്നവരുടെ പ്രയാസങ്ങളില്‍ ഇടപെടുന്ന, നേരിടുന്ന അനീതികളെ ചോദ്യം ചെയ്യുന്ന ആളാണ് മൈമു. എന്നാല്‍ വാപ്പയുടെ അസാന്നിധ്യത്തില്‍ വളര്‍ന്നുവരുന്ന ആണ്‍മക്കളില്‍ രണ്ടുപേരും രണ്ട് സ്വഭാവക്കാരാണ്. ഇളയവനായ ഹംസ ശാന്തശീലനും കുടുംബത്തിന്റേതായ ചിട്ടവട്ടങ്ങളില്‍ ജീവിക്കുന്നവനുമാണെങ്കില്‍ മൂത്തവനായ മൊയ്തു സ്വന്തം ശരികളുടെ മുന്നില്‍ മറ്റൊന്നിനെയും വില വെക്കാത്തവനാണ്. ഈ രണ്ട് തലമുറയുടെ ജീവിത കഥയിലൂടെയാണ് മട്ടാഞ്ചേരിയുടെ രാഷ്ട്രീയ ചരിത്രം രാജീവ് രവി മനോഹരമായി അവതരിപ്പിച്ചിരിക്കുന്നത്. മൈമുവിനെ ജോജു ജോര്‍ജ് അവതരിപ്പിച്ചപ്പോള്‍ മൊയ്തുവായി നിവിന്‍ പോളിയും ഹംസയായി അര്‍ജുന്‍ അശോകനും എത്തുന്നു.

സംവിധാനം ചെയ്ത ചിത്രങ്ങളില്‍ രാജീവ് രവി ആദ്യമായി സ്വയം ഛായാഗ്രഹണം നിര്‍വ്വഹിച്ചിരിക്കുന്ന ചിത്രമാണ് തുറമുഖം. ഒരു തുറമുഖ പട്ടണത്തിന്‍റെ പഴയ കാലം വിശ്വസനീയമായി സ്ക്രീനില്‍ എത്തിക്കുന്നതില്‍ ചിത്രം വിജയിച്ചിട്ടുണ്ട്. ഗോകുല്‍ ദാസ് ആണ് ചിത്രത്തിന്റെ കലാസംവിധായകന്‍. വിദേശ മാഗസിനുകളുടെ ആര്‍ക്കൈവല്‍ ഫോട്ടോഗ്രാഫുകളുടെ ഗാംഭീര്യത്തോടെയാണ് ചിത്രത്തിന്‍റെ പല വൈഡ് ആംഗിള്‍ ഷോട്ടുകളും രാജീവ് രവി ഒരുക്കിയിരിക്കുന്നത്. 1930 കളില്‍ കഥ പറഞ്ഞ് തുടങ്ങുമ്പോള്‍ ബ്ലാക്ക് ആന്‍ഡ് വൈറ്റില്‍ തെളിയുന്ന സ്ക്രീന്‍ നാല്‍പതുകളിലേക്ക് എത്തുമ്പോള്‍ കളറിലേക്ക് മാറുന്നു. അപ്പോഴും പല കാലങ്ങള്‍ക്ക് പല കളര്‍ ടോണുകള്‍ പരീക്ഷിച്ചിട്ടുണ്ട് രാജീവ് രവി. ദൃശ്യപരമായ ഇത്തരം പരീക്ഷണങ്ങളൊന്നും ചിത്രം നല്‍കുന്ന സമഗ്രാനുഭവത്തില്‍ നിന്ന് പ്രേക്ഷകരുടെ ശ്രദ്ധയെ അലോസരപ്പെടുത്തുന്നില്ല എന്നത് വലിയ പ്ലസ് ആണ്. 

പെര്‍ഫോമന്‍സുകളുടെ ചിത്രം കൂടിയാണ് തുറമുഖം. രാജീവ് രവി ചിത്രങ്ങളില്‍ അതുവരെ കാണാത്ത തരത്തിലുള്ള തങ്ങളുടെ പ്രകടനം മുന്‍പും പല അഭിനേതാക്കളും പുറത്തെടുത്തിട്ടുണ്ട്. മൈമുവായി ജോജു ജോര്‍ജും മൊയ്തുവായി നിവിന്‍ പോളിയും ഹംസയായി അര്‍ജുന്‍ അശോകനും ഇരുവരുടെയും ഉമ്മയുടെ വേഷത്തില്‍ പൂര്‍ണിമ ഇന്ദ്രജിത്തും സാന്റോ ഗോപാലനായി ഇന്ദ്രജിത്തുമാണ് പ്രകടനം കൊണ്ട് ഏറ്റവും മികവ് പുലര്‍ത്തിയ താരങ്ങള്‍. പതിവ് നായകന്മാരുടേതായ ഫ്രെയ്മുകള്‍ക്കൊക്കെ പുറത്ത് നില്‍ക്കുന്ന, പല തലങ്ങളുള്ള മൊയ്തു അവതരിപ്പിക്കാന്‍ ഒരു നടന് വെല്ലുവിളി ഉയര്‍ത്തുന്ന കഥാപാത്രമാണ്. കരിയറില്‍ ലഭിച്ച ഈ വേറിട്ട കഥാപാത്രത്തെ നിവിന്‍ ഗംഭീരമായി സ്ക്രീനില്‍ എത്തിച്ചിട്ടുണ്ട്.

റിയലിസത്തോട് ചേര്‍ന്ന് നിന്നാണ് രാജീവ് രവി എപ്പോഴും സിനിമകള്‍ എടുത്തിട്ടുള്ളത്. എന്നാല്‍ ഒരു നേര്‍ ചരിത്രത്തെ അദ്ദേഹം ആദ്യമായാണ് സിനിമയാക്കുന്നത് എന്നതാണ് തുറമുഖത്തിന്‍റെ പ്രത്യേകത. ഇതുവരെ ചെയ്ത മറ്റെല്ലാ സിനിമകളുടെയും ആദ്യ ആശയം അദ്ദേഹത്തിന്‍റേത് തന്നെ ആയിരുന്നെങ്കില്‍ തുറമുഖം, അതേപേരില്‍ 1968 ല്‍ കെ എം ചിദംബരന്‍ രചിച്ച് വേദിയിലെത്തിയ നാടകത്തെ അധികരിച്ചുള്ളതാണ്. ഉള്‍ക്കനം കൊണ്ട് ശ്രദ്ധ നേടിയ ഒരു നാടകത്തെ സിനിമയെന്ന മീഡിയത്തിലേക്ക് അതിന്റെ സത്ത ചോരാതെ അവതരിപ്പിക്കാനായിട്ടുണ്ട് രാജീവ് രവിക്ക്. സിനിമാപ്രേമികള്‍ക്ക് ബിഗ് സ്ക്രീന്‍ അനുഭവം വാഗ്ദാനം ചെയ്യുന്ന ചിത്രം പരിപൂര്‍ണ്ണതയില്‍ ആസ്വദിക്കണമെങ്കില്‍ തിയറ്ററില്‍ തന്നെ കാണേണ്ടതുണ്ട്. 

ALSO READ : 'തുറമുഖം പോലൊരു സിനിമ ചെയ്യാൻ മാത്രം എനിക്ക് ത്രാണിയില്ലായിരിക്കാം'; നിര്‍മ്മാതാവിന്‍റെ പ്രതികരണം

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Home » Review » Thuramukham review: A powerful Nivin Pauly film »

Thuramukham review: A powerful Nivin Pauly film

Thuramukham review: Nivin Pauly delivers a terrific performance as a man who is a slave to his primal instincts.

• Manoj Kumar

Last Updated: 04.48 PM, Mar 10, 2023

Story: Thuramukham is about the protests against the Chappa system that culminated in a police firing in Mattancherry. 

Review: Thuramukham is Malayalam for the harbour . Director Rajeev Ravi and his writer Gopan Chidambaran has based the movie on real-life incidents that unfolded in Mattancherry, a port city during the 1940s. It was called the Chappa system. It was a feudal method that was employed to allocate the work for the day at the harbour. The feudal masters flaked by their whip-wielding herdsman would throw a bunch of copper coins in the air and whoever manages to grab a coin is guaranteed the day's work at the port. The labourers would fight among themselves to get hold of a coin, while the feudal master stood on an elevated platform and watched the struggle for survival with a sense of amusement. It was like gladiator fights which were fought at the break of dawn every day for the entertainment of the masters. 

We can instantly see the inhumanity of the system. Some people in the crowd like Mymood (Joju George) do understand the degrading nature of this practice. But, it's a matter of survival. It was not about one's pride or yearning for self-respect. The question is about feeding his children and if he fails to grab a coin, his family will go to sleep with empty stomachs. And that motivates Mymood to get into the crowd and fight for the coin. Mymood is gifted with a large physique and it lets him tackle the crowd in pursuit of copper coins. But, he also has a strong mind and the ability to think independently. He's like an elephant in the room. The masters are aware that he would soon become a pressing problem that they will be forced to address it. 

Mymood snaps and puts the beat down on Pacheek (Sudev Nair) and his men. The revolt will not go unpunished. If not right at the moment, then later that night. Mymood disappears overnight as if he never existed. The responsibility to feed his three hungry kids falls on the shoulders of Mymood's wife, played by an in-form Poornima Indrajith. 

Mymood's firstborn Moidu (Nivin Pauly) has inherited the strong physique and short fuse of his father. But, he doesn't share his father's moral DNA. Moidu grows up to be selfish and prefers his vices to the welfare of his family. He cares for no one but himself. He's the personification of everything that his idealistic father fought against. Moidu's brother Hamza (Arjun Ashokan) is a gullible young man who has no clue about his place in the family or society. He goes to work at the harbour because that's what everybody in his neighbourhood does. And he takes part in the protest against the Chappa system at first purely due to peer pressure. Nimisha Sajayan's Umani doesn't even notice his presence the first few times. That's how meek his personality is. 

In the battle for survival and in desperation to break free from poverty, Moidu becomes Pacheek's attack dog. He becomes friends with his father's enemies. He becomes the man his father would have hated. But, it's not the story about making one's father proud. It's about crushing poverty, empty stomachs and the will to survive even in the darkest of times. The moral scape is so horrid that there is no space for delicate emotions. You either survive or die. And Moidu is the product of that kind of thinking. 

Nivin delivers a terrific performance as a man who is a slave to his primal instincts. Poornima's transformation from a young woman to an old lady is so convincing. Especially, the makeup and costume artists and the production designers have done such a wonderful job. Rajeev Ravi's frames add richness to the narration and transport us to a period of darkness when oil lamps were the only source of light in improvised ghettos. 

Thuramukham is not just about the inhuman Chappa system but it's also about its evolution in independent and modern India. With time, the masters took on different forms to retain control over the labour force. With growing objections against the feudal system, clever businessmen adopted the union system. And the cops replaced the henchmen to control the crowd and put out any fire of revolution. 

All the betrayal, self-discovery, coming-of-age and learning the hard truth about the realism of life and the ugliness of human nature leads an to electrifying end. The high-voltage face-off between the protestors and the cops is goosebumps-inducing. Especially, the actor who leads the protest gives a highly spirited performance. 

Verdict: The powerful performances and the electrifying ending make it an engrossing watch. 

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'Thuramukham' Review: Rajeev Ravi & Nivin Pauly Mount a Strong Film on Communism

Rajeev ravi directorial, 'thuramukham' (harbour) is a period drama set in the 1950's about labour rights., 'thuramukham' review: rajeev ravi & nivin pauly mount a strong film on communism.

It’s always tricky to make heavily opinionated films for mainstream audiences because the movie has to register its ideologies with an authentic voice, knowing that not everyone will agree with them. Thuramukham (Harbour), I must say, is a bold attempt.

The film is the chronicle of the tragic event at Kerala's Mattancherry Harbour in 1953, where workers protested against the capitalists and fell prey to their bullets.

Featuring a talented star cast— Nivin Pauly , Nimisha Sajayan, Arjun Ashokan, Darshana Rajendran, and Poornima Indrajith—the period drama is an adaptation of BK Chidambaram’s yesteryear play titled the same and is scripted by the son of the playwright, Gopan Chidambaram.

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The film speaks about the inhuman ‘c happa ’ or ‘token’ system prevalent in the Kochi port, wherein metal coins were flung at labourers as a way to choose who gets to work that day, resulting in a frantic battle among the workers to grab them.

Thuramukham poster

(Photo: Twitter)

The film tries to answer a bunch of hard-hitting questions: Why are those who slog day in and day out exploited? Despite the hard work, why do their families sleep in hunger every night? Why do headmen and bosses pit the poor against each other?

Dangling between one life of slavery and another of dignity, the workers choose the latter by exercising their self-respect. But that comes with a price.

Director Rajeev Ravi brilliantly documents the pain and power of the working class. Through Thuramukham, the makers delve deeply into the lives of the poor and oppressed and narrate the forgotten incidents and events that are easily erased from history and people’s collective memory.

The cinematography is rustic, realistic, and effectively captures the rawness of the workers' lives.

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The building blocks of Thuramukham are capitalism and communism. It is, in a way, a mini-history class on the inception of the workers’ movement and labour unions.

The film is a homage to a real-life struggle for labour rights.

While the film scores with its powerful slogans, fiery action sequences, and tense love triangle, it falters in holding the audience to its core. Lengthy and repetitive sequences let one disconnect from them every now and then.

However, the actors have done absolute justice to their roles with such conviction. Ashokan and Poornima specifically shine with their natural performances.

Rebellious at its heart,- Thuramukham is an earnest depiction of the phrase ' Inquilab Zindabad' (Long Live the Revolution).

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Topics:    movie review      nivin pauly      south cinema  .

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Thuramukham review: Poornima Indrajith, Nivin Pauly and Arjun Ashokan fare well in this well-crafted classic

Accompanied by soul-stirring music, director Rajeev Ravi brings alive the Mattancherry shooting incident of 1953.

Published:Mar 10, 2023

Rajeev Ravi's 'Thuramukham' is a well-crafted historical film. (Supplied)

A classic from Rajeev Ravi!

Thuramukham (Malayalam)

• Cast: Nivin Pauly, Nimisha Sajayan, Poornima Indrajith, Darshana Rajendran, Arjun Ashokan
• Director: Rajeev Ravi
• Producers: Sukumar Thekkepat, Jose Thomas and Listin Stephen
• Music: K and Shahabaz Aman
• Runtime: 2 hours 54 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

Thuramukham , the much-anticipated film from director Rajeev Ravi , is based on the Mattancherry shooting incident which occurred in 1953.

Rajeev Ravi’s films have a different set of filmgoers who are passionate about realistic films.

It will be quite interesting to watch a film based on true incidents that involve shootings and protests in Kerala after Indian Independence. Let’s check how it fares:

Focuses on ‘Chappa’ system

Nivin Pauly in a poster of ‘Thuramukham’. (Supplied)

Thuramukham showcases the awful “Chappa” labour allocation system that was prevalent in the seaport in Kochi. It was a part of the feudal practice under which copper coins were thrown at workers. Those who get hold of the coin get work.

The practice resulted in a lot of protests that ended up in violence.

The movie is an adaptation of the drama penned by KM Chidambaram of the same name. Chidambaram’s son Gopan Chidambaram wrote the screenplay for the movie, without giving any commercial elements.

Nivin Pauly appears as Mattancherry Moidu, a local goon. Poverty and unemployment turn him into a henchman of a feudal lord named Pacheek (Sudev Nair).

Moidu is the elder son of one of the families shown in the story. Umma (Poornima Indrajith) is his mom and Maimu (Joju George) is his father.

Moidu’s younger brother is Hamza (Arjun Ashokan) and Darshana Rajendran essays the role of Khadeeja, Moidu’s younger sister.

Also Read: Anger Tales Telugu web series review

Moidu is featured as an irresponsible person with a grey shade. Hamza takes the responsibility of looking after his family. But he is hardly able to make the ends meet due to low wages and the “Chappa” system.

The “Chappa” system is a hindrance to all families in Mattancherry where people work at the seaport for a livelihood. Mattancherry was once a trade hub in Kochi.

In 1953, a slow uprising happened in Mattancherry with the leadership of trade unions backed by left organisations and it ended in violent shootings that claimed the lives of many labourers.

Finally!!The day we have been looking forward to, is here . It’s been a long journey. Thank you all for being there… For the wholehearted support and wishes…. #ListinStephen Nothing but love and gratitude😍 Watch #THURAMUKHAM in theatres. ❤️ pic.twitter.com/Wzs9KV2iOv — Nivin Pauly (@NivinOfficial) March 10, 2023

A realistic film

Rajeev Ravi, known for his unique style of filmmaking and making movies without any compromises, did superb work by highlighting an incident that is not even in the memory of locals.

The movie is slow-paced, before the interval and post-interval; many instances happen in the movie. It also focuses on the social conditions in the early 1930s and 1950s.

The human emotions due to poverty, aggression followed by lack of work and helplessness due to their circumstances are some of the key takeaways for the audience who mostly belong to the privileged class of this era.

Power-packed performances

The cast and crew of ‘Thurakukham’. (Supplied)

Thuramukham has an ensemble cast that includes Joju George, Indrajith, Sudev Nair, Arjun Ashokan, Nimisha Sajayan, Poornima Indrajith, and Darshana Rajendran.

Poornima Indrajith scores with her career-best performance. Her role as Umma (mom), is amazing. She portrays the helplessness of a woman in that period with ease.

Grief is the only expression she showcases throughout the film which gives an idea of how a single mother had to take care of her family during those times.

Her husband goes absconding and giving more details would be a spoiler.

Nivin Pauly as Moidu delivers yet another captivating performance after his mesmerising show as Akbar in the 2019-released Moothon directed by Geethu Mohandas.

Even though the movie is realistic, there are some areas where his fans can whistle for the swag.

Also Read: Memories Tamil movie review

It’s the career’s best show by Arjun Ashokan, too. As Hamza, he gets an equal role to that of Nivin Pauly.

Nimisha Sajayan’s character is bold but she doesn’t have many scenes compared to other actors.

A poster of ‘Thuramukham’. (NivinOfficial/Twitter)

Darshana Rajendran also had a good role but Poornima steals the show.

Indrajith Sukumaran as workers’ union leader Santo Gopalan and Joju George as Maimu did justice to their roles.

Sudev Nair as Pacheek is convincing. But the actor is getting cliched with negative roles.

Rajeev Ravi handled the cinematography for Thuramukham. Being the director, he knows his frames well. The movie, which is shot in dark in the sea and port, has come out quite well.

The music composed by K and Shahabaz Aman is the soul of the movie. The background score gives goosebumps to the audience sometimes.

Thuramukham is a sincere effort by Rajeev Ravi and his team to showcase real-life incidents of class division and oppression that are forgotten by the new generation.

The movie has amazing performances by Poornima Indrajith, Nivin Pauly, and Arjun Ashokan.

(Views expressed are personal.)

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• Malayalam cinema
• Malayalam movies
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'Thuramukham' movie review: Technically competent, inconsistently engaging epic

I don’t know if the film’s sound was designed in such a way that nearly all actors, unless when called upon to express feelings of contempt and anger or yell slogans, sounded like they were whispering their lines. (I saw it in Vanitha, one of Kochi’s most well-equipped theatres known for superior audio and visual quality.)

Most often, they get lost in the film’s background score and ambient sounds, and, naturally, some of the lines from the film’s early portions were incomprehensible to me. I fought, in various instances, the urge to ask a fellow viewer the meaning. Fortunately, this doesn’t hinder the way the film sets up the principal characters and their connections to each other. It’s obvious who is who.

Nivin Pauly is Moidu, a son whose father Mymood’s (Joju George) sudden absence during childhood imposes serious character deficiencies once he grows up. So when he, a labourer, allies with the same capitalist oppressor Pacheek —Sudev Nair, doing what he always does best—that taunted his father, it seems like Moidu sees in Pacheek a surrogate father figure.

Just like one of those American house slaves, Moidu curries favour with Pacheek and ends up as one of his hired goons. Given Mymood’s history with Pacheek, one can tell that this wouldn’t be the beautiful friendship that Moidu hoped it would be. Nivin comfortably gets into the skin of Moidu, transitioning from a naive and misguided youngster to a full-fledged thug ready to do anything at his master’s bidding. It’s a life that neither his mother (Poornima Indrajith), brother (Arjun Ashokan) and sister (Darshana Rajendran) don’t approve of.  

A chronicle of the cruel and unfair ‘chappa’ system of recruiting labourers, wherein metal coin tokens (chappa) were dispersed into the air until they reach the ‘lucky’ ones, Thuramukham depicts the uneasy alliance between stevedore contractors, supervisors, and two opposing unions, which gets murkier and murkier as the film progresses.

While trying to document this little-known, formative piece of Kerala history (from Kochi-Mattanchery) that impacted many marginalised families, director-cinematographer Rajeev Ravi trains his lens on the members of one family and their well-wishers, whose lives get affected by the machinations of the exploiters. 

Aside from, of course, the places where certain pieces of dialogue are inaudible, the film’s screenplay does a fine job of giving us a sense of its fairly epic scale, aside from an idea of how the chappa system and the different kinds of unions operated back then, and how caste and community played a big part in it. For instance, those capable of paying a ‘donation’ or discreet appeasement were on the priority list of these supervisors, while the others were left to struggle without work. Their lives depended on the chappa. 

The conflict arises out of the clash between two unions, Cochin Thuramukha Thozhilali Union (C.T.T.U) and Port Cargo Labour Union (P.C.L.U) when the former gets into a joint venture arrangement with the contractors and agents, with the authority of deciding who to give the chappa resting solely on them. Parallely, Gopan Chidambaram’s script of Thuramukham also functions as a Cain and Abel story where Moidu’s younger brother Hamza (Arjun Ashokan) joins the P.C.L.U, the attempts of which are constantly being thwarted by Moidu and his thugs at the behest of Pacheek. Thuramukham feels like a darker companion piece of Kammattipadam, given the common themes of loyalty and betrayal they share. There are no victors here, only losers.

Yes, the men are the catalysts for the events in Thuramukham, but the women are left to live with the repercussions of the men after they vanish. None of the women has it easy, be it the mother, sister, or Umani (Nimisha Sajayan), the woman rescued by Moidu but for whom Hamza has a soft corner. Thuramukham gives Poornima the most well-etched character, which she aces to perfection.

Despite the ordeals the character has to endure as a wife and mother, Poornima keeps her performance prominently understated—it’s devoid of melodrama, even when the character eventually reaches the inevitable breaking point.

It’s evident the film wants us to feel a certain way about Nivin’s Moidu, and it succeeds at keeping a measure of detachment between him and us, which makes sense because Moidu is not a character that, irrespective of the redemption arc that he attains in the third act, is supposed to be heroic. However, the film, I feel, behaves oddly when it comes to Arjun’s Hamza.

Here’s someone who is supposed to be the most endearing of all the male characters in Thuramukham; however, I felt emotionally disengaged from this character or his numerous attempts at self-sacrifice. 

My other gripe with Thuramukham is with respect to the portrayal of the struggle. For a subject that’s supposed to make my blood boil, it didn’t move me as much as I wanted it to. I recall encountering the same problem with another film about marginalised groups, Pada, which, like Thuramukham, was technically competent but failed to engage on a deeply visceral level. I thought Indrajith Sukumaran’s character Santo Gopalan channelled the revolutionary spirit far better than some of his comrades. 

Besides, it didn’t help that the film’s background score, which would sound better as a standalone piece, feels mismatched when placed alongside the events it should enhance. For its lion’s share, Thuramukham has a notably slow guitar and saxophone-infused soundtrack that doesn’t go well with the previously mentioned whispery conversations and moments of brooding and mundane activity.

If anything, Rajeev Ravi’s eminently striking visual style—aided by art director Gokul Das—continues to hold our attention. Capturing a time without electricity, the filmmaker immerses the characters in amber lighting, shadows, and silhouettes. At times the remarkably atmospheric imagery resembles pages from graphic novels and westerns. But how far can beautiful visuals take us without a consistently engaging screenplay?

Film: Thuramukham Director: Rajeev Ravi Cast: Nivin Pauly, Poornima Indrajith, Arjun Ashokan, Indrajith Sukumaran, Nimisha Sajayan, Darshana Rajendran, Sudev Nair, Manikandan Achari Rating: 3/5

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The famous protests against the 'chappa' system that was practiced in the Cochin harbor during the 1950s. The famous protests against the 'chappa' system that was practiced in the Cochin harbor during the 1950s. The famous protests against the 'chappa' system that was practiced in the Cochin harbor during the 1950s.

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‘Thuramukham’ movie review: Rajeev Ravi’s film is an important document of the struggles to unionise for rights

Rajeev ravi’s thuramukham is the chronicle of the building up of the left workers’ union, and the tragic event at mattancherry in 1953, when three protesting workers perished to police bullets.

Updated - March 10, 2023 09:14 pm IST

A still from ‘Thuramukham’

Copper pieces go up in the air, thrown imperiously by a man flanked by his goons. When the pieces land, desperate men fight against each other to get hold of one. The ones who manage to secure a piece heave a sigh of relief, while the rest walk back with drooping shoulders. This is not the scene from some old-world competitive sport, but the work allocation system followed in the Cochin harbour till the 1950s. Only the ones who got the copper pieces, known as ‘chappa’, got work allocated due to the day, mostly loading and unloading work in the harbour.

Building workers’ solidarity in such an environment, where survival depends on snatching your chance before someone else got it, must have been quite a task. Rajeev Ravi’s fifth directorial Thuramukham is the chronicle of the building up of the left workers’ union, and the tragic event at Mattancherry in 1953, when three protesting workers perished to police bullets. It is a struggle on which not much has been written about. K.M.Chidambaram’s play Thuramukham , based on the struggle, has been adapted for the screen by his son Gopan Chidambaram.

The story of the workers’ fightback has all the elements of a commercial pot-boiler, yet Rajeev Ravi sticks to what we have known him to do. He patiently recreates the time, the place and the social situation in all its rich authenticity, and places at its centre a family. The mother (Poornima Indrajith) is the marker of the passage of time, having witnessed the struggle being built up from the ground by her husband Maimu (Joju George), and in which her sons (Nivin Pauly and Arjun Ashokan) would later play their own parts too. The sufferings of women like her, which often plays out in the background of many a heroic struggle, is placed at the forefront here.

Thuramukham

It is not a story of individual heroism, which gets played down, in the service of the collective. Nivin Pauly, the biggest star of the lot, gets to play an anti-hero of sorts for a while, becoming one of the henchmen for the oppressor. But the script does not look harshly at the likes of him too, always making us aware of the abject conditions, and their own lack of awareness, which make them take up whatever pays for their next meal, or drink. Then there are references to real-life heroes like the union leader Santo Gopalan (Indrajith Sukumaran), hardly ever wavering from the ideal, and suffering for it.

Even the breath-taking climax sequence, of a pitched street battle between the workers and the police, does not have its leading figures (except the worker played by Arjun Ashokan), just like how Rajinikanth’s protagonist is absent from Kaala ’s climax. The way that sequence is arrived at, from the coming together of many smaller street processions into a massive street rally, could also be considered a commentary about a movement that had by then grown bigger than any of its individual leaders.

What might work against the movie is the three-hour run-time, with some passages that are just not engaging enough. Yet, Thuramukham remains an honest and important document of workers’ struggle to unionise for their rights, in an era in which such hard-won rights are chipped away, and even feeble protests are mocked at.

Thuramukham is currently running in theatres

Published - March 10, 2023 05:42 pm IST

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Thuramukham Movie Review: Technically competent, inconsistently engaging epic

Rating: ( 3 / 5).

I don't know if the sound was designed in such a way that nearly all actors, unless when called upon to express feelings of contempt and anger or yell slogans, sounded like they were whispering their lines. (I saw it in Vanitha, one of Kochi's most well-equipped theatres known for superior audio and visual quality.) Most often, they get lost in the film's background score and ambient sounds, and, naturally, some of the lines from the film's early portions were incomprehensible to me. I fought, in various instances, the urge to ask a fellow viewer the meaning. Fortunately, this doesn't hinder the way the film sets up the principal characters and their connections to each other. It's obvious who is who.

Director: Rajeev Ravi

Cast: Nivin Pauly, Poornima Indrajith, Arjun Ashokan, Indrajith Sukumaran, Nimisha Sajayan, Darshana Rajendran, Sudev Nair, Manikandan Achari

Nivin Pauly is Moidu, a son whose father Mymood's (Joju George) sudden absence during childhood imposes serious character deficiencies once he grows up. So when he, a labourer, allies with the same capitalist oppressor Pacheek -- Sudev Nair, doing what he always does best -- that taunted his father, it seems like Moidu sees in Pacheek a surrogate father figure. Just like one of those American house slaves, Moidu curries favour with Pacheek and ends up as one of his hired goons. Given Mymood's history with Pacheek, one can tell that this wouldn't be the beautiful friendship that Moidu hoped it would be. Nivin comfortably gets into the skin of Moidu, transitioning from a naive and misguided youngster to a full-fledged thug ready to do anything at his master's bidding. It's a life that neither his mother (Poornima Indrajith), brother (Arjun Ashokan) and sister (Darshana Rajendran) don't approve of.  

A chronicle of the cruel and unfair 'chappa' system of recruiting labourers, wherein metal coin tokens (chappa) were dispersed into the air until they reach the 'lucky' ones, Thuramukham depicts the uneasy alliance between stevedore contractors, supervisors, and two opposing unions, which gets murkier and murkier as the film progresses. While trying to document this little-known, formative piece of Kerala history (from Kochi-Mattanchery) that impacted many marginalised families, director-cinematographer Rajeev Ravi trains his lens on the members of one family and their well-wishers, whose lives get affected by the machinations of the exploiters. 

Aside from, of course, the places where certain pieces of dialogue are inaudible, the film's screenplay does a fine job of giving us a sense of its fairly epic scale, aside from an idea of how the chappa system and the different kinds of unions operated back then, and how caste and community played a big part in it. For instance, those capable of paying a 'donation' or discreet appeasement were on the priority list of these supervisors, while the others were left to struggle without work. Their lives depended on the 'chappa'. 

The conflict arises out of the clash between two unions, Cochin Thuramukha Thozhilali Union (C.T.T.U) and Port Cargo Labour Union (P.C.L.U) when the former gets into a joint venture arrangement with the contractors and agents, with the authority of deciding who to give the chappa resting solely on them. Parallely, Gopan Chidambaram's script of Thuramukham also functions as a Cain and Abel story where Moidu's younger brother Hamza (Arjun Ashokan) joins the P.C.L.U, the attempts of which are constantly being thwarted by Moidu and his thugs at the behest of Pacheek. Thuramukham feels like a darker companion piece of Kammattipadam, given the common themes of loyalty and betrayal they share. There are no victors here, only losers.

Yes, the men are the catalysts for the events in Thuramukham , but the women are left to live with the repercussions of the men after they vanish. None of the women has it easy, be it the mother, sister, or Umani (Nimisha Sajayan), the woman rescued by Moidu but for whom Hamza has a soft corner. Thuramukham gives Poornima the most well-etched character, which she aces to perfection. Despite the ordeals the character has to endure as a wife and mother, Poornima keeps her performance prominently understated -- it's devoid of melodrama, even when the character eventually reaches the inevitable breaking point.

It's evident the film wants us to feel a certain way about Nivin's Moidu, and it succeeds at keeping a measure of detachment between him and us, which makes sense because Moidu is not a character that, irrespective of the redemption arc that he attains in the third act, is supposed to be heroic. However, the film, I feel, behaves oddly when it comes to Arjun's Hamza. Here's someone who is supposed to be the most endearing of all the male characters in Thuramukham ; however, I felt emotionally disengaged from this character or his numerous attempts at self-sacrifice. 

My other gripe with Thuramukham is with respect to the portrayal of the struggle. For a subject that's supposed to make my blood boil, it didn't move me as much as I wanted it to. I recall encountering the same problem with another film about marginalised groups, Pada , which, like Thuramukham , was technically competent but failed to engage on a deeply visceral level. I thought Indrajith Sukumaran's character Santo Gopalan channelled the revolutionary spirit far better than some of his comrades. 

Besides, it didn't help that the film's background score, which would sound better as a standalone piece, feels mismatched when placed alongside the events it should enhance. For its lion's share, Thuramukham has a notably slow guitar and saxophone-infused soundtrack that doesn't go well with the previously mentioned whispery conversations and moments of brooding and mundane activity.

If anything, Rajeev Ravi's eminently striking visual style -- aided by art director Gokul Das -- continues to hold our attention. Capturing a time without electricity, the filmmaker immerses the characters in amber lighting, shadows, and silhouettes. At times the remarkably atmospheric imagery resembles pages from graphic novels and westerns. But how far can beautiful visuals take us without a consistently engaging screenplay?

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• What is the release date of 'Thuramukham'? Release date of Nivin Pauly and Joju George starrer 'Thuramukham' is 2022-03-10.
• Who are the actors in 'Thuramukham'? 'Thuramukham' star cast includes Nivin Pauly, Joju George, Indrajith Sukumaran and Sudev Nair.
• Who is the director of 'Thuramukham'? 'Thuramukham' is directed by Rajeev Ravi.
• Who is the producer of 'Thuramukham'? 'Thuramukham' is produced by Jose Thomas.
• What is Genre of 'Thuramukham'? 'Thuramukham' belongs to 'Action,Crime,Drama' genre.
• In Which Languages is 'Thuramukham' releasing? 'Thuramukham' is releasing in Malayalam.

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Thuramukham

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Frequently Asked Questions (FAQs) About Thuramukham

In this Thuramukham film, Nivin Pauly , Nimisha Sajayan played the primary leads.

The Thuramukham was released in theaters on 10 Mar 2023.

The Thuramukham was directed by Rajeev Ravi

Movies like Kadha Innuvare , Pani , Ajayante Randam Moshanam and others in a similar vein had the same genre but quite different stories.

The Thuramukham had a runtime of 175 minutes.

The soundtracks and background music were composed by Shahabaz Aman for the movie Thuramukham.

The cinematography for Thuramukham was shot by Rajeev Ravi .

You can watch the Thuramukham movie on Sony Liv,.

On 28 Apr 2023 Thuramukham was released on the Sony Liv, platform.

The movie Thuramukham belonged to the Drama,History, genre.

Thuramukham User Review

• Movie rating

Mathews 550 Days Ago

Average Movie. This movie is a complete package making you feel various emotions throughout the film. Strong characters but lengthy duration is a big drawback.

Aftab 550 Days Ago

Film is a wholesome entertainer with perfect mix of action, patriotism and historical ideas. Every scene has excellent music complementing the scene.

Rahul 550 Days Ago

Watched movie. A typical historical drama. Actor Poornima Indrajiths performances in the movie was damn impressive. She grabbed the audience attention with her amazing acting skills.

Malavika 550 Days Ago

Big disaster at the box-office. The film is not a good entertainer for cinephiles who loves to watch light-heart drama. The audience has to laugh, that was missing.

kevin 550 Days Ago

Good Movie. It deeply touched all human mind. Strong characters and good story plot. Very good performances from Nivin Pauly, Joju Joseph, Arjun Ashokan and Nimisha Sajayan.

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