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Times of India
Brought up in polar-opposite circumstances, Bhavana and Manoj are a couple who can't appreciate each other's individuality, though there is the thread of strong love that runs through their relationship. Manoj's money chasing mentality and losing their daughter to his carelessness push Bhavana gradually to a state of mental instability. However, the couple is not ready to give up on each other yet and what happens thereafter is the film's crux.
Njangalude Veettile Athithikal
handles an acute psychological issue, but it's not devoid of comic moments either. An impressive plot, the story showcases the dilemmas and hopes of a typical, arranged - married couple, who go through a handful of ups and downs in the initial years of their marriage - including the death of a kid. Doubts, conflict of personalities and ambitions aside, the lead characters are in love with each other and the film deals with how they cope up with it when abnormalities creep into their life.
As it is, the film keeps you hooked and the lead actors Priyamani and Jayaram give convincing performances. The warm bond of compassion that they share despite issues is striking. The sequences conveying the importance for each other in their lives are put together with enough conviction and though the seriousness of the subject bores the audience here and there, it still makes them patiently wait to see what happens next. Innocent and K P A C Lalitha are seen in avatars that they have played a million times, however, without irking the audience. The scenes of hallucination involving Narain and Lena are plausible, with both of them giving a dreamy feel to their presence and even delivery of lines, impeccably.
Probably the most entertaining parts of the film are the ones involving Noby Marcose and Shajon, who leave the audience in splits. Shajon enacts a criminal with the shades of comedy and he has struck the balance well, and so has Noby, with his much-loved expressions and dialogue delivery style.
As the film deals with a mental malady as subject, audience see
ghost at times, especially when the patient senses her own instability and others adjust to the ailment. Jayaram's character is devoid of much scope to perform, other than being supportive of his ailing wife. One also wonders why certain scenes - which could have been handled better with situational comedy, like the ones involving Shajon awaiting letters from his lover - were handled with tad immaturity.
The film is worth a watch for the subject that Siby Malayil has tried to deal with and has its heart in the right place overall.