Mizhi Thurakku Malayalam Full Movie is a melodramatic movie directed by Santhosh Souparnika, Starring K. B. Ganesh Kumar, Ashokan, Midhuna, Sruthi Lakshmi, Ambika Mohan, Reji Thampi, Vijayaraghavan, Kochupreman,Anil Plamodu, Poojapura Radhakrishnan, Mankamahesh.
Set in the year 1921 against the setting of the Malabar insubordination (the “Mappila Lahala”), the story unfurls in the area of Eranad. Savithri (Sruthi Lakshmi), a Brahmin Nambudiri lady, escapes to spare her life and respect when her family is viciously assaulted by the Mappila Muslims. Blessed enough to endure the crazy group, she at last takes asylum in the cottage of Chathan (Ganesh Kumar), who has a place with a substandard distant rank. At first exceptionally hesitant and reluctant to connect with the distinguished woman, Chathan yields to her supplication for haven and insurance, indicating character past his poor social standing.
Having lost everything aside from life and womanly respect, Savithri encounters the distinct social truth of her occasions. She finds out about the hopeless, submissive and pitiable individuals who lives and bites the dust serving her and her tip top family. She additionally gets the chance to see the excellence of the world – the widely varied vegetation – that was denied to her up to that point. Love, humankind, regard and dutifulness take resurrection in Savithri. How she changes herself, reconstructs her general surroundings, is the remainder of the story.
As subplots or wrapper to the first story of Savithri, the motion picture has this landowner (Vijaya Raghavan) and his helper (Kochu Preman) who are the merciless essences of feudalism that torments Chathan and his companion Pokkan (Asokan). Pokkan’s adolescent little girl Myna winds up charming to Savithri, and the two grasps a relationship that smacks casteism hard all over. At that point, there are the standard scenes of provocation, brutal put-down, assault, murder and so forth by the upper station that are run of the mill and maybe unavoidable to motion pictures on casteism and feudalism.
Music by M Jayachandran, verses by Poovchal Khader and Jayageetha, cosmetics by Pattanam Rashid, and cinematography by Anil Nair have been remarkable. There are many flawless edges and shots in the motion picture, catching the appealing excellence of Kerala. As opposed to the districts of the first ballad that are dull and wilted, which are so to enlarge the gravity of the topic, the motion picture’s regions are vivid. The directional style has been popular, not following the traditional method of gradualness to such recorded social show. The diligent work behind the motion picture is apparent all through.
Sruthi Lakshmi as Savithri has performed extraordinarily well. Her physical elegance and emoting abilities have been put to the correct use in the motion picture, and she impeccably coordinates the character in the first work. Despite the fact that the first Chathan’s constitution does not coordinate that of Ganesh Kumar, he has done full equity to the character. But two or three awkward entertainers, every other person has been well-suited. Kochu Preman merits unique applause, particularly for that fiendish yet absurd scene where he shows up in plain undergarment.
Dr Santhosh Souparnika claims he is a motion picture producer and craftsman with social commitments and duties. His past work ‘Ardhanari’ vouches for that, and ‘Mizhi Thurakku’ validates his case. It’s somewhat tragic to see shows getting dropped for such films for the absence of least watchers. It is the “Duravastha” (pitiable state) of present occasions similarly as non-business Malayalam Cinema is concerned.
As a visual adjustment of the exemplary ballad ‘Duravastha’ by Mahakavi Kumaranasan to coordinate contemporary motion picture making style, ‘Mizhi Thurakku’ puts on a show of being a veritable exertion.
Duravastha by Kumaranasan is a 1922 wonderful regret about the vile casteism and feudalism that was prevalent in old Kerala, which was a social reorganization or arousing call too. Despite the fact that the majority of those social separations and treacheries are excruciating and disgraceful recollections of the past, casteism is as yet polished in the present current society in different structures and standards. The creators of ‘Mizhi Thurakku’ welcome us to remember the social imbalances of the past through the film, and admonishes us to drop each type of casteism and “open our eyes” to the basic principle of mankind by Sree Narayana Guru, “One Caste, One Religion, and One God for man”