Urumi, the latest Malayalam film starring Prithviraj, is a historical mythological film, where everything is woven together seamlessly by scriptwriter Shankar Ramakrishnan and visualised and directed by Santhosh Sivan. Santosh has made it like how a period drama should be made without too much talk about freedom struggle, no bombastic dialogues or playing to the gallery for heroism. His vision and concept gives this epic the feel of a Brave Heart or Gladiator.
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Cast
Pritviraj, Prabhu Deva, Genelia, Jagathy, Nitya Menen, Vidhya Balan
A multi-national mining company offers him an unimaginable sum as advance. The only hurdle is that he has to convince the people running the NGO and the tribal community living there to vacate.
When he reaches the venue, he is made aware of his heritage. Thus we go back to the 15th century and the story of Chirakkal Kelu Nayanar, the youngster who had vowed to eliminate Vasco da Gama and free his land of foreign occupation.
There are elements that are typical of a historical story; let it be secularist ideals or the 'unity in diversity' utopia aspired for. But they are not overplayed to hinder the flow of narrative in any way. The dialogues have minimal jingoism and are crisp. The only grouse we can have at the script level is the fact that some characters are underdeveloped or left in a lurch, especially Vidya Balan's much-hyped cameo and item song. Or did the editor Sreekar Prasad prune it to manage reel time better?
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Cast
Pritviraj, Prabhu Deva, Genelia, Jagathy, Nitya Menen, Vidhya Balan
A multi-national mining company offers him an unimaginable sum as advance. The only hurdle is that he has to convince the people running the NGO and the tribal community living there to vacate.
When he reaches the venue, he is made aware of his heritage. Thus we go back to the 15th century and the story of Chirakkal Kelu Nayanar, the youngster who had vowed to eliminate Vasco da Gama and free his land of foreign occupation.
There are elements that are typical of a historical story; let it be secularist ideals or the 'unity in diversity' utopia aspired for. But they are not overplayed to hinder the flow of narrative in any way. The dialogues have minimal jingoism and are crisp. The only grouse we can have at the script level is the fact that some characters are underdeveloped or left in a lurch, especially Vidya Balan's much-hyped cameo and item song. Or did the editor Sreekar Prasad prune it to manage reel time better?