Anchu Sundarikal is an anthology film which deals with love as it varies from the perspectives of different women.
As the title suggests, Anchu Sundarikal is about women; beautiful women entangled in their own motives and traits. Five independent, completely disconnected stories form Anchu Sundarikal; each one trying to unravel the perplexing facets of a woman.
Shyju Khalid's Sethulekshmi deals with a sense of vulnerability that oozes from innocence. Samir Thahir's Isha celebrates a sensuality swaddled in smartness. Gowri by Aashiq Abu evokes a weary longing for dependency mistaken as love. In Kullante Bhaarya, the only film in the anthology with a nameless woman character, Amal Neerad probes the identity of a woman. Anwar Rasheed straddles fidelity and faithfulness in Amy.
All these narratives dabble in the shades of women, which keep changing like cumulous clouds in motion. But, it's the tale of the nameless woman,'Kullante Bhaarya' that stays with the viewer. Deeply reminiscent of Hitchcock's Rear Window, a photographer confined to his wheelchair, wonderfully played by Dulqar, surveys his neighbourhood through window of his apartment. He does it with such interest that there is a definite but slightly distant feeling of voyeurism about his lengthy glances at the fellow inhabitants. The servant, the security guard and even the neighbours feed him with shreds of information which he collects and even recollects. The story of a midget and his pretty wife is told with craft, as the neighbours gather gossip and grieve about the husband and wife. The final shot of the man walking along with baby wrapped in his hands and holding his umbrella to an awkward height comes across as the most stunning images in the film.
Shyju Khalid whips up the warmest moments in Sethulekhsmi. A little girl, petrified of an incident, it's gravity which she wouldn't comprehend at her age, snuggles between her mother and father in the middle of the night. The camera later captures, almost carelessly, her tiny fingers closely pressing his father's firm hands as he takes her to school on his bicycle.
Anwar Rasheed's Amy is subtly philosophical with its nicely written script, playfully flirting with proverbs and a character in dismay. Amal Neerad deserves credit for bringing together an experience, which we hadn't known since Kerala Cafe in Malayalam cinema. There are a few pit falls with some aimless, tawdry story-telling creeping in at times. But, the movie still strikes a chord, with it's serene, sweet moments.