Saudi vellakka review

• • Showtimes • • • • Movies • Movie Reviews • • • • • • • • Releasing Soon • • • • • • Movie Pictures • • • • • • • Movie Wallpapers • • • • • • Videos • • • • • • • Movie Directory • • • • • • • • Streaming Guide • • • • • Celebrities • • • Event Pictures • • • • • Facebook • Twitter • pinterest • It is said, "Justice delayed is justice denied." Tharun Moorthy's Saudi Vellakka CC225/2009 is a drama about a case that takes a long time to arrive at its conclusion due to the strict adherence to formalities in Indian courts. The parties in the case are an old woman named Aisha Rowther and a child named Abhilash Sashidharan. The story is told mostly in flashbacks. Initially, we see a grown-up Abhilash (Lukman Avaran) being summoned to court for a hearing over the case. Abhilash tries telling the police officer who calls him that it is a trivial case, but the cop insists that he appear in court. Then, in flashbacks, we are shown the triviality of the matter. It is usually a dispute that could be settled over a cup of coffee, but the caste and class differences ensure that the aggrieved party goes to court. Moorthy's film shows the effects of years of red tape in Indian courts and the passage of time on the lives of these commoners. The case goes on and on even as one magistrate succeeds another over ten years. It is perhaps to underline this passing of time that Moorthy takes a long-drawn-out approach to storytelling here. A lot of the film simply follows Devi Varma's Aisha as...

Express News Service There is a point in 'Saudi Vellakka' where things get a bit dull— I mean in a good way, necessary as a storytelling choice to convey a central character’s helpless situation. Tharun Moorthy is smart enough to allow only a glimpse of what this person, an aged woman, is going through. We get the idea. Had he opted to show the full extent of her ordeal, it might take 13 movies (or episodes of a series) because Saudi Vellakka condenses into its 140-minute runtime the chronicle of a small court case that gets needlessly dragged for 13 years. It’s a case that might seem small or silly to the sensible, critical thinkers amongst us—because there’s a far quicker way to resolve it—but the magnitude of it is overwhelmingly massive for every character who has had to bear the brunt of its after-effects. Some filmmakers would’ve preferred to repeat what they did in their successful first film. But in his second feature, Tharun Moorthy isn’t interested in doing another Operation Java—a breakthrough debut film that became the first successful box office hit in Kerala theatres after they reopened following the first wave of the pandemic. Saudi Vellakka foregoes the stylish, urban mood of the former in favour of a more grounded, performance-heavy storytelling. Not that Operation Java didn’t have terrific performances, but if you felt that film lacked strongly in the emotional department, you might find Saudi Vellakka compensating for it in spades. Tharun and cinematogra...

Some punch lines actually work. Despite the helping of music in the background, the camera looking sideways at two men holding onto a rail, it does not feel dramatic when one man says to the other, “Didn’t you ask me if this is all humans are? This is how much humans are.” Saudi Vellakka is a sweet film, risking a lot by putting an adamant and adorable old woman to lead the game. Devi Varma, playing this character, is something of a novelty, her almost plain expressions conveying much. But then again, the film comes from Tharun Moorthy, a director who does not seem to believe in relying on market strategies that are supposed to bring success. He gave us Operation Java, Saudi Vellakka, a film that seems slightly stretched, but nevertheless manages to pat your back as you leave the theatre. Like in Operation Java, Tharun, also the scriptwriter of the film, sets the story in a smaller neighbourhood of Kochi, called Saudi. The houses are closely placed and the neighbours know each other so well that they are all inside one’s home at the first sight of trouble. Trouble, in this case, comes from a very unexpected, seemingly silly incident, but blows up way beyond anyone’s imagination. Devi Varma plays the stubborn Aisha Rawuthar, picking fights with the man next door and with her daughter-in-law. When she is introduced, you’d brush her character off as a one-off incident in the background and wait for Lukman Lukku, a known actor, to take the story ahead. But he remains somewhat ...

There is a point in Saudi Vellakka where things get a bit dull -- I mean in a good way, necessary as a storytelling choice to convey a central character's helpless situation. Tharun Moorthy is smart enough to allow only a glimpse of what this person, an aged woman, is going through. We get the idea. Had he opted to show the full extent of her ordeal, it might take 13 movies (or episodes of a series) because Saudi Vellakka condenses into its 140-minute runtime the chronicle of a small court case that gets needlessly dragged for 13 years. It's a case that might seem small or silly to the sensible, critical thinkers amongst us -- because there's a far quicker way to resolve it -- but the magnitude of it is overwhelmingly massive for every character who has had to bear the brunt of its after-effects. Director: Tharun Moorthy Some filmmakers would've preferred to repeat what they did in their successful first film. But in his second feature, Tharun Moorthy isn't interested in doing another Operation Java -- a breakthrough debut film that became the first successful box office hit in Kerala theatres after they reopened following the first wave of the pandemic. Saudi Vellakka foregoes the stylish, urban mood of the former in favour of a more grounded, performance-heavy storytelling. Not that Operation Java didn't have terrific performances, but if you felt that film lacked strongly in the emotional department, you might find Saudi Vellakka compensating for it in spades. Tharun an...

I thought Saudi Vellakka a glancing, loving depiction of the judicial system as a pageantry filled with performers trying to do right by everyone, do everything by the book, and failing despite their best attempts, observes Sreehari Nair. At the heart of Tharun Moorthy's Saudi Vellakka is a long-running court case, and it is set off by an improperly timed cricket shot. Nine-year-old Abhilash Sashidharan is an open-mouthed kid growing up in a poor urban area of Kochi, a ghetto that other Kochi-ites refer to as 'Saudi'. Unlike the houses you'll find elsewhere in ostentatious Kerala, the houses in Saudi are Kleenex boxes with cubbyholes, modest courtyards, and boundaries in perpetual conflict. On this fateful day in 2005, Abhilash encounters one of the first disappointments of early adolescence: He fails to extract a milk tooth that hangs on to its socket by the last of its ligaments. By the end of the day, however, he gathers around with his friends, on the terrace of his tuition centre, for a round of low-key cricket, with a coconut frond for a bat and a vellakka (baby coconut) for a ball. And that's when it happens. Abhilash's on-drive flies over the terrace and hits 71-year-old Ayesha Rawther on the side of her head. The old hag, driven to a bout of momentary madness, comes after the kids, who, like those breakaway Communists, wind up exposing one of their own. Rawther initially wants to thwack the little boy with the frond at hand, but settles for the all-purpose slap......

‘I don’t know what is in store for the future. But I feel that I have done something in my life after making this movie.’ This is director Tharun Moorthy’s latest Facebook post about his new movie, Saudi Vellakka CC 225/2009. The filmmaker, who had a brilliant debut with Operation Java (2021), has struck gold at the box office with this heartwarming social drama. “A film that connects with the audience seldom fails. We believe that has happened with Saudi Vellakka. If you love cinema, it will love you back. I enjoy the process of making a film. For me, Saudi Vellakka has been an emotional journey,” says the 33-year-old director. Malayalam director Tharun Moorthy | Photo Credit: Special Arrangement The film, inspired by a real incident, is a poignant take on how cases get dragged for years in Indian courts and how this affects the lives of the people involved. The case in this film is 14 years old and the cause is just a vellakka (baby coconut). Aisha Ravuthar, an octogenarian, beats her nine-year-old neighbour, Abhilash, in a fit of rage, which she regrets later. Instigated by a few people, Abhilash’s family files a case. Tharun says that it was director Ratheesh K Rajan who showed him a newspaper report about a case in Thiruvananthapuram involving an old woman and a 22-year-old youth that had been going on for years. “I collected the details and met the policemen and lawyers involved in the investigation and trial. It eventually led to Saudi Vellakka, of course, with chan...

Story: An old woman beats up a small boy when he accidentally hits her while playing cricket. His parents file a case against the woman, but is justice served? Review: The story is set in Saudi, a colony in Kochi. A group of children playing cricket accidently hit an old passerby with their ball. In a fit of anger, the lady Ayesha Rauthar (Devi Varma) beats the boy Abhilash (Lukman Luke) who took the blame for the accident, and he falls on the ground breaking his teeth. The boy's family files a case against Ayesha and as the court case drags on, she pulls away from her family and withdraws into a shell. Tharun Moorthy’s latest strikes as a blow to the Indian judiciary. The first half starts slow, but the second half is more eventful and emotional with stellar performances by Devi Varma and Lukman. The way the director makes a mockery of the judiciary is commendable, and he does this without going overboard and keeps it enjoyable and thought-provoking. The court case starts over children’s gully cricket, and continues till they get into their 20s and one witness even gets married; it is a mirror to slow court proceedings in India with judges changing, absent witnesses, holiday extensions and so on Devi Varma as Ayesh excelled in her performance, with her guilt and sadness. And the encounter with a grown-up Abhilash, who is now a young man with his own struggles and understands the old woman’s emotions. Sujit Shankar as Ayesha’s son, has also given a memorable performance. S...