Murali Gopi too has done a stellar job as police inspector Sathyan.
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The movie has been a career best for Mamukoya. The movie maintains a perfect balance between Hindu and Muslim communalism”, he says. “Many facts which film makers who had earlier shied away from saying are being openly said in the movie. Noted film critic Chandrasekhar, however, commends the daring statement the movie makes on communalism. I personally feel that such ideologies should be spoken out openly,” he says. “In old movies ideologies were not hidden. Writer Thaha Madayi feels that in new movies like Kuruthi, the ideologies put forward are made to go through a special frame creating confusion in the minds of the viewers. Society has become very sensitive and we have become very conscious about religion and caste”, he adds.Īll the same, director Manu Warrier has made a bold attempt to speak about communalism openly. “But since religion has got a good market, religion has been interwoven into it. He also said that the film is no different from the usual gangwar films. However, Laiq is justifying all the violence he does using the lines from the Quran”, says Rafi. The Muslim villains in earlier films have never used Islamic ideology for eliminating or killing enemies. He enters the secular family and fights against secularism. “Laiq is presented as some power emerging from the dark as mentioned in primitive myths. Mohammed Rafi N V, film critic and assistant professor of literary studies in Malayalam Varsity, feels that the character Laiq has been given an aura similar to a Taliban-like cult figure. Imagine the French Revolution’s excesses portrayed through the eyes of the guillotine! The graphic depictions of violence make the movie engrossing but at what cost? In one scene, Laiq draws his trademark stilleto blade across Ibrahim’s forearm, with the same nonchalance and purposefulness as one might while shearing a cardboard, all the while looking at his victim in the eye, daring him to answer, “now do you understand (how to hate the us-them binary)”. He’s frankly vampireish on occasion, like when he sprints after the motorbike bearing away the three fleeing Hindus, his fingers inches away from one of them, his legs not quite catching up, his whole body defying gravity, his face strained by the intent, even as the bike speeds away. He doesn’t mandatorily bare his torso nor are there subtle pan shots of his sculpted pectorals the glowering look, one eye slightly askew, as though leering, and the sheer aerodynamic thrust of his body when he’s charged up conveys the menace. Prithviraj has done a great job as Laiq, his repeated, and rhetorical, appeals to reason and revenge only highlighting his demented nature. All the while, there is an unmistakable gleam in his eyes.
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To go back to the aforementioned shot of Laiq with his victim (the main ‘Hindu’ protagonist Suma played by Srindaa), the camera unmistakably shows him priming for the kill, his one fist roughly bunching her long hair to secure his grip while the other hand caresses her throat with the thin blade, a trained pro seeking out the jugular for a clinical finish. However, it’s moot if it is this narrative that will stay with the viewer or the far more visceral scenes glorifying violence and machismo.
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The movie’s narrative arc shows Hindu-Muslim ties being sorely tested and ordinary people’s human instincts triumphing over the artificial divides that the zealots among them try to impose.
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The film-makers’ (director, scriptwriter and an actor heavily invested in his unique role) obsession with slickness - probably all the more unavoidable in these times of shuttered cinemas and OTT platforms - to a great extent undoes what they set out to do. At the thematic level, the movie’s credentials are impeccable but the medium, sadly, scrambles the message. This exploration dovetails neatly into the movie’s larger theme of Hindu-Muslim conflict and how competitive victimhood finally makes the fanatic of one hue no different from that of another. Kuruthi (as the title itself suggests) explores how there is often only a thin line between sacrifice and slaughter and how, sometimes, justifying the first can lead to the second. Almost two hours later, towards the end of the movie, we see Laiq (Prithviraj) holding a knife against a woman’s throat and proclaiming without any irony whatsoever that what he (or, in his view, any true believer in such a situation) may be forced to do is no different from invoking ‘bismi’ before sending the sacrificial goat to its maker.
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The camera zooms in on the animal’s huge eyes, conveying its blissful ignorance of the violent fate awaiting it. Right at the beginning of Prithiviraj-starrer Kuruthi, released by Amazon Prime on Wednesday, Ibrahim’s (sensitively played by Roshan Mathew) little daughter beseeches her dad to spare a goat slated for ritual sacrifice. Asacrificial goat can easily become a scapegoat.