The film moves around the events that happen in a picturesque village following the arrival of a young pastor.
, director Lijo Jose Pallisserry dabbles in a newly-found realm. He does the act joyfully with a tinge of absurdity and he derives laughter that sometimes wobbles on sheer madness. The good part is that the joy stays, warm and pleasant, all through the film.
Even with its ludicrous presence of a woman, who says yes when her son farts, Amen is lovable for the very manner in which Lijo mingles audacity with absurdity and churns out a fantasy with a flamboyant verve. Right from the opening scene, the film announces without a slight hint of hesitation, what it is up to. A kid discovers excrement wrapped in gold foil near his gate, and every time it passes hands, he squeals with a blissful impunity.
, a wonderful accomplishment, is set in a village where its inhabitants are always garbed in white - a motif which the film deftly employs to meld the elements of fantasy and spirituality.
A young, handsome cleric (Indrajith) arrives as the pastor of the church, whose senior priest is Father Abraham (Joy Mathew), a grumpy fellow. The village has a mix of issues, which range from the love between Solomon (Fahad) and Sosanna (Swati) to the fate of a band crushed by frequent failures in contests. The movie sets itself a lot of targets like the fate of Solomon's love, his dazzling self-discovery of a trait not known to him before and some sober spiritual and religious conflicts.
promises a luxuriant plot replete with music, faith, fantasy and romance and an amazingly varied set of characters. There is Solomon, an otherwise timid youth, who would play his clarinet every night as Susanna, perched by the window side, would gaze down on him affectionately. Overwhelmed with emotions, a porky simpleton cries, farts and eats enormously. A rich drunkard sits still in the company of some clay-models by the river and then offers drink for each of them.
Though he fantasizes his narrative, Lijo sometimes throws surprises. A coconut falls on a bad-mouthed villager and no sooner than we assume it to be a divine act, the camera tilts upward to introduce a man atop the tree, who drops another one coconut on the same person. It's as though the film draws its dynamism from the very sense of bafflement.
Indrajith and Fahad outsmart each other, as they melt themselves into their respective roles with authority. Abinandhan Ramanujam is tireless behind the camera, furnishing a canvas that is vibrant, experimental and glowing.