Ann Maria Kalippilaanu review: Sara Arjun’s attract is eclipsed by weird messaging

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On a face of it, Ann Maria Kalippilaanu is a jaunty frisk by an part in a pre-teen’s life. Ann Maria (played by Sara Arjun) lives in Kerala with her alloy mom (Leona Lishoy) while her father — also a medico, played by Saiju Kurup — has taken off to a Red Cross stay in Syria. Clearly he is a good guy, that is given he willingly works in a war-torn nation — he usually forgot to make his possess daughter his priority.

Ann is a sharp-witted lady with a balmy disposition, dearly desired by both silent and dad. He, however, constantly disappoints her by reneging on his promises to be there for a subsequent large day in her life afterwards a subsequent and a next. Her uneasy mind total with her strident powers of regard and fruitful imagination sets off a sequence of events as a outcome of that she ends adult channel swords with a school’s mean earthy training instructor David (John Kaippallil) and apropos buddies with a small-time limb called Poombatta i.e. Butterfly Gireesh (Sunny Wayne), a nickname warranted from a science that he strikes so hard, his victims see butterflies and not stars.

It is all sweetly child-like until this point. Kids tend to contend and do a darnedest things. We know too that they are discerning to embrace and gulp a misfortune of what adults contend and do, mostly a really things we wish they did not see or hear us do or say, so it is both comical and plausible that Ann goes off in hunt of a “vaadaka goonda” (hired hooligan) when she overhears her mom revelation another adult that that is a usually approach to set some people right. What is weird nonetheless is a silent who is portrayed as an differently essential parent, permitting a teenager daughter to constantly hang out with this sold vaadaka goonda given someone happened to tell her he is a submissive fraud. Err… he is a sparse rapist and a inebriated lout.


A still from Ann Maria Kalippilaanu. Image courtesy: YouTube

Would a obliged primogenitor not control some arrange of examination on finding a doubtful friendship? Would she, should she, assume that such a chairman is “harmless” to an under-age girl? Not usually is this parental poise extraordinary deliberation what we differently see of Ann’s mother, nonetheless it is also risky, ridiculous and positively not something a children’s film should endorse. This is frequency a best approach to learn immature viewers an anti-classist lesson.

Midhun Manuel Thomas — who progressing destined Aadu Oru Bheegara Jeevi Aanu — clearly means well. The aged decree about a highway to ruin being paved with good intentions is value remembering here though. Because over and above a attracts of a principal expel and a film’s frothy veneer, lies a weird — perhaps unwittingly done — point: that given each child needs a father figure to demeanour adult to, if a father is not accessible afterwards any male will do. Seriously, anybody! Daddy illengil, vaadaka goonda engilum. Pita nahin toh acchhe dil waala goonda hi sahi — koi toh mard hona chahiye har bachche ki zindagi mein. This is as stupid and dangerous as a wicked-stepmother classify perpetuated by children’s novel down a ages.

When faced with final for accountability, many film folk respond with: this is usually a film… c’mon chill… it’s usually entertainment. Actually, no film is ever “just a film”, and there is no genre in a universe that requires closer courtesy than films destined during a really young. At a time when Hollywood appears to have incited over a new leaf, and is branch stereotypes on their head in films so beautifully relatable to children such as Maleficent, Frozen and Inside Out, it is unsatisfactory that Malayalam cinema would shake out such tosh.

More’s a empathize given Ann Maria K has so many power and several endearing elements. Such as a blossoming bond between Gireesh and his new employer played by Siddique — now there is a doctrine about ignoring category bounds that is good value charity children. Likewise, it is poetic to see Gireesh’s mutation in a face of Ann’s ignorance and inherited goodness.

Writer-director Thomas displays some panache in a exegesis of dual versions of Gireesh’s behind story. The use of animation in one is both brave and apt. The after outing to a fantastical area with Ann’s ‘angel’ (and a neat overturning of gender assumptions in that sub-plot) is also justification that Thomas is not as infrequent a filmmaker as one competence assume from a less-well-thought-out aspects of this film.

The expel is a hurl call of excellent talents. Sara Arjun — who progressing starred in Deiva Thirumagal with behaving brave Vikram and in a tiny purpose as Aishwarya Rai Bachchan’s daughter in Jazbaa usually last year — is a stout performer, confident over her years. She is usually 11.

Gireesh is played by a unassumingly appealing Sunny Wayne, who manages to give his impression both a brooding power and a comic appeal. Wayne’s Gireesh finds a ideal foil in his partner-in-criminal-laziness, Ambrose played by Aju Varghese. Varghese and Dharmajan Bolgatty in tiny roles are fun to watch.

The collect of a ancillary expel nonetheless is Siddique who enters a pattern late into a story, nonetheless owns Ann Maria K as many as Arjun and Wayne. This is a arrange of film in that caring has been taken in a casting of even a minute roles (including one of a many large group in this nation in a cameo) and it shows.

Similar refinement was compulsory in a subtitles though. While spasmodic glancing during a subs for this review, we did not see any grammatical or spelling errors (what a relief!) nonetheless we beheld a integrate of places where a difference on shade were opposite from what was being said. we clearly remember one indicate in which a child refers to someone called “Alex C Chacko” since a line flashing on shade mentions a “Jose C Kurian”. Wonder what that was about.

Nice music, good visuals, flattering art pattern — a wrapping is all in place. If Thomas and his co-writer John Manthrickal had not been so dispassionate about certain aspects of their screenplay, this could have been a poignant film. Their good intentions and a allure of a cast, however, are not reason adequate to omit Ann Maria Kalippilaanu’s mindless, oddity messaging.