How in this era are we okay with characters casually discussing dowry and even agreeing for it without repercussions? In an era where Malayalam cinema is praised for being progressive, the kind of sexist and misogynistic jokes - mostly uttered by Innocent, Mukesh and Aju Varghese's characters - that the film goes for, make the industry take a couple of steps back. So while the writing barely manages to pass muster, Tsunami is further letdown by some very problematic turns. The only character that actually managed to evince some sort of interest was Antappan's no-nonsense wife Judi, but after a couple of initial appearances, she strangely vanishes from the rest of the film. You will not find a single character worth rooting for here, especially its two lead characters. The writing is a huge let-down, as the film jumps from one farcical situation to another, from one bad characterisation to another. The comedy bits are mostly a let-down Mukesh's frequent 'suna' jokes were not even funny to begin with, but still get dragged to the end. There are a few jokes that managed to make me chuckle, and the actors go in with the flow well, even if most of the cue given to them is to act out loud.īut these merely create ripples unlike what its eponymous title suggests. But the problem with Tsunami is not that it makes jokes that are of the below-the-belt variety, but because they make one d*ck joke premise stretch insufferably long enough to last two hours. I have no qualms with adult comedies, and I have enjoyed quite a few as guilty pleasures. While we may scoff at the silliness of this suggestion, our clueless hero pushes himself deeper into a pit to avoid having sex with his new bride, that leads to his entire family casting aspersions on his errr. Moving ahead, on the wedding night, Sylvester reminds Bobby, using an exaggerated piles story, that though Anna and her family may not have recognised him yet, she might do so if he pulls down his pants. Otherwise what could explain her frequent fainting? So imagine, from that bus incident to Anna's first alliance getting cancelled to them getting engaged and later married, all that happens within less than two months.Īpart from this time-skipping logic, this strange relationship dynamic basically robs Anna of any kind character depth and ends up being just a PYT with low sugar issues. well, on their wedding night, Antappan tells Eepachan that he has been married only for two months. Ah, some more rich things.Īnyway, before we know it, Bobby and Anna get married, even before they even have a decent conversation about themselves.
BALU VARGHESE MOVIE
The Great Indian Kitchen Movie Review: Nimisha Sajayan and Suraj Venjaramoodu’s Social Drama Is Brilliant!Īlso, let me remind you that he still has Anna's phone, and despite them being rich and influential, Anna's family never bothers to get it traced. After some hesitation, Bobby agrees to get hitched with some cajoling from Antappan and Sylvester, only that he can get to marry the girl who accidentally saw his penis. 'Cos maybe even he thinks that this irresponsible, good-for-nothing fella can't really do anything on his own. The movie is an adult comedy filled with double entendres and suggestive situations that somehow managed to get an U certificate from Censor Board, which is perhaps the most fascinating feature of Tsunami.Īnd just like all silly indulgences rich people do, Francis now wants his son to get married and settle down. Tsunami released in theatres on March 11 and has now found its way to Neestream, a streaming platform that got a lot of popularity for The Great Indian Kitchen and to some extent, for Thirike as well.
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Sadly, the film they came together to make - Tsunami - is something neither of them shouldn't have taken credit for, individually or together. Both are formidable directors in their individual standing - Lal giving us two hilarious sequels of In Harihar Nagar, while Lal Jr made the cult Honeybee and the highly engaging Driving License. Tsunami Movie Review: Correct me if I am wrong, but this is the first in Indian cinema when a father-son duo officially share directing credits for a movie, as Lal and his son Lal Jr do so for Tsunami.
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