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Editing and sound designing was done by the director himself. Midhun Eravil is the cinematographer and Jeffin Joseph is the executive producer. The horror thriller is written and directed by Nirmal Baby Varghese and produced by Baby Chaithanya under the banner of Casablanca Film Factory in association with Vivid Frames.
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The movie already garnered attention for the Indian debut of Hollywood music director Evan Evans.
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It stars newcomers Jeffin Joseph, Aswathi Anil Kumar, Varun Ravindran, Shyam Salash, Saniya Poulose, Salini Baby, Joji Tomy and Rajan. It is a subgenre in which a sizeable part of the film is presented as if the video footages were discovered (and not recorded by the filmmakers). Vazhiye is the first Malayalam film to be shot in ‘found footage’ form, claimed the makers. It’s a weird mix you never thought you’d like until you tried it.Director Nirmal Baby Varghese released a special poster for his upcoming Malayalam horror movie Vazhiye on the occasion of Halloween. When put crudely, Jan.E.Man is the film you would have got if Lijo Jose Pellissery had co-directed Ee Ma Yau with Rafi Mecartin.
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And when all of this is aided by classic comedic tropes with one house being full of people from rural-most Kumuli at odds with the cityfolk of Kochi, we get a hilarious film and set of even better characters. And with the way he uses longer single takes at the funeral, he manages to slow down time in contrast with the quicker cuts in scenes set in the happier house. Little touches like how he uses white tube-lights in one house versus warmer bulbs in the other, oddly, help us maintain emotional continuity through opposite moods in the two houses. The team manages to cushion this drop because Chidambaram is also an able craftsman. It’s like the film is setting us up for genre shifts, but slowing things down before it does.
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Which is why we’re willing to overlook a glaring drop in energy before the major events take place. What this does is make sure the film never takes itself too seriously even when it deals with major dramatic events. Just when we think the screenplay has forgotten them, they return with a scene that fits in cohesively while also breaking the tension. And this is the case with most characters. They get solid backstories and their own history with central characters but the film also gives them the room to take detours without ever changing our understanding of them. The same goes with the characters played by Lal and Balu Varghese. Like Joymon who we sympathise with in one scene, only for us to reconsider our judgment of him when he behaves like a stubborn child in need of (social media) validation. But after a few scenes and some precise dialogues, we get enough to add our own layers to them and the events that have transpired to make them these complex characters. At first we know little about them and the dynamics they bring to this complicated equation. The same goes with the way the characters get introduced. What could easily have felt like a sentimental turn feels like it fits because the screenplay has already planted important clues. Take for instance the subtlety with which the last half hour hits us (the reason behind a major issue in the past strikes us in the last scene). Chidambaram never takes it easy with the premise because his screenplay always surprises us by bringing back details he embedded early on or by taking turns we would never expect. But you also understand that what’s happening next door is even more important. Joymon deserves a happy birthday and he’s even travelled the world for this one night. It’s a loaded premise so full of potential that the jokes write themselves.
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So when his elderly neighbour kicks the bucket hours before Joymon’s big party, we’re primed for intense drama and even darker comedic set pieces. The venue is Sampath’s terrace but what makes the film an original work is what happens in the house right opposite to theirs. He convinces old friend Faizal (Ganapathi, also co-writer) and acquaintance Sampath (Arjun Ashokan) to host the party and agrees to take care of the expenses. Which is what happens when Joymon decides to travel back home to make sure he has people to celebrate the milestone with. It’s important for Jaan-E-Mann to have begun by making us feel his crushing isolation because it is eventually a film about human connections and two of life’s biggest events-birth and death.