Urumi

Mysticism, history and eye-popping martial arts come together in the breathtaking visual delight that is Urumi. And though the plot is riveting, the casting impeccable and the performances laudable – it is the visual “feel” of the movie that is its crowning jewel. Shot in stunning locales in Kerala and Maharashtra, the movie is such a feast for the eyes that one is almost reluctant to blink.
Watching the movie, I was struck by the temerity of its architects – Urumi is not a movie that fits into any of the established molds in Malayalam cinema. There was Pazhassiraja, of course – but it was a historical drama and was hence based on historical accounts familiar to any Malayali who knew his history. But to create a historical-fantasy, along the lines of Ang Lee’s Crouching Tiger, Hidden Dragon in a vernacular language, and that too with a budget of a whopping 20 crores definitely required bravado. And judging by the response of the audience in the theatre, it is a gamble that has paid off. But perhaps I am being unfair by terming it a gamble – in all probability, Santhosh Sivan and his team made a well thought-out decision based entirely on the oft-forgotten principle of never underestimating or stereotyping one’s audience. That, and a tautly written storyline might have lent them the confidence to break new ground in Malayalam cinema.
The story recounts a fictionalized account of Northern Kerala’s strife against the Portuguese. For the protagonist, Chirakkal Kelu Nayanar (a role that seems to fit the talented Prithviraj like a glove) the struggle is intensely personal as he seeks vengeance for his father’s death at the hands of Vasco da Gama. Assisted by his childhood friend Vavvali – portrayed by Prabhu Deva at his delightful best – he sets off on this quest of epic proportions. Along the way, he gains the confidence of the Chirakkal Maharaja, (played by Amol Gupte to perfection) and the ill will of the Maharaja’s contemptibly weak-willed son and his devious Minister. In a plot that is rife with tension – jealousy, greed and mistrust abounds in the royal household – the events leading up to Kelu’s final battle with the Portugese are build up. There is never a dull moment in the movie and the stunning cinematography transforms the audience into the very heart of the story. Moreover, the casting was brilliant – every actor (even Genelia who (understandably) seems to have a little trouble with enunciating some of the syllables) fits his/her role perfectly.
The movie’s writing is flawless. For instance, as the devious minister – Jagathy Sreekumar in one of his best performances – convinces the young prince to turn against his own father, he asks him to close
his eyes. Later in the movie, Kelu entreats the prince to open his eyes and discern between right and wrong for himself – a subtle and poetic instance of the exquisite dialogue.
Urumi will also be remembered for its technical perfection – which is only to be expected from a movie directed by Santhosh Sivan and edited by the seven-time National-award-winning maestro A. Sreekar Prasad. Every shot is artistic and nothing is superfluous or inelegant. The background score was apt for the genre too – though only two of the songs in the soundtrack (Aaranne Aaranne and the mellifluous Chimmi Chimmi) seemed to fit the setting of the movie. However, since the movie has been made for a global audience – there will be dubbed releases in Tamil and English – this could have been a deliberate choice in order to lend the music a wider appeal.
All in all, Urumi is truly an ambitious project – one that definitely deserves to be watched in a theater.