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Exclusive Report --> 'Appan' movie review: Raw and refreshing to the core

Princy Alexander

Published: November 04 , 2022 02:19 AM IST

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'Appan', which is streaming on SonyLiv, is one of those movies that leave you surprised by its endearing rawness and complexity. Set in the hilly terrains in the backdrop of a rubber plantation, 'Appan' fully devotes its tale and time at a house that looks seemingly normal to an unassuming visitor.

However, not all is well in the house and the audience does not have to wait too long to find out why. Kuttyamma (Pauly Valsan), the unfortunate wife of the villainous Ittyachan (played by Alancier) expresses her feelings clearly in the opening scene when she says she saw a pleasant dream-- that her husband had died and her son, Njoonju (Sunny Wayne) kept stuffing his nose with cotton. The smile on her daughter-in-law Rosy's face sums up the feeling of the household.

Most villainous patriarchs in Malayalam movies are shown as power-hungry and power-wielding, but seldom is their villainy centered around everyone in their family. This is what makes 'Appan' very different. Ittyachan has only brought sorrow to his family. In his heydays, he was a womaniser to the core with a devil-may-care, grumpy attitude, that made him everyone's enemy.

He is currently confined to the bed after he escapes a murder bid by a scorned husband. If in the past he was hated, now he is unbearable, even as the sins of his past come to haunt the family. Ittyachan wants what's best only for him, unbothered by the depths of pain he causes to others.

Alancier as Ittyachan is exemplary. In a recent interview, 'Appan' director Maju had said he had no one else other than Alancier is mind to play Ittiyachan. The actor's mannerisms and dialogue-delivery is perfect as he lives the character onscreen. As he portrays the wretched man who makes life miserable for others, it's only possible to hate him every moment. Everyone, including the audience wants Ittyachan dead.

Sunny Wayne as the despondent son, who bears the biggest weight of his father's sins, has nailed it in the movie. His emotions and reactions matter a lot in this film, which he has carried with ease. Sunny's Njoonju is not a weak character, but I'm sure anyone who watches the film would have wanted him to react more harshly with his father. But that's the beauty of the script. It has explored reality and how it's hard for families to cut off the most treacherous of people from their lives.

Pauly Valsan deserves an award for her performance as she goes on to prove yet again that she is a brilliant actor. Grace Antony as Molykutty (Njoonju's sister) brings the comic relief at times in the movie. Ananya also plays the daughter-in-law to perfection. Newcomer Radhika Radhakrishnan has also breathed life to Sheela, yet another crucial character in the movie.

Director Maju and scriptwriter R Jayakumar's ability to keep the audience hooked despite the limited setting and with just a few characters is what has made the movie work for all.

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Appan review: An intense family drama with riveting performances

Maju excels as writer-director as he meticulously captures the emotions of the characters, with a strong sense of intensity and darkness.

Published:Oct 28, 2022

'Appan' malayalam movie. (Supplied)

Sunny Wayne & Alencier Ley Lopez steal the show!

Appan (Malayalam)

• Cast: Sunny Wayne, Ananya, Alencier Ley Lopez, Grace Antony, and Pauly Valsan
• Director: Maju
• Producer: Josekutty Madathil and Ranjith Manambarakkat
• Music: Dawn Vincent
• OTT platform: Sony LIV
• Runtime: 2 hours 10 minutes
• Cast: Salman Khan, Katrina Kaif, Emraan Hashmi, and Revathy
• Director: Maneesh Sharma
• Producer: Aditya Chopra
• Music: Pritam Chakraborty
• Runtime: 2 hours 35 minutes

The story of Maju’s latest film Appan is set in a small village. Sunny Wayne plays Noonju, a rubber tapper, in it. He resides with his parents, wife, and son.

Within a couple of scenes, we find that he, his family members and also the villagers are awaiting his father’s death.

His father Ittychan, paralysed from the waist down, was and is a vicious womaniser who tortures abuses, and harasses his wife. The villagers plot to murder him.

Reminds us of Irakal and Joji

Written by R Jayakumar and the director himself, Appan starts like another version of Joji. No, it is not Macbeth . The reason is entirely different here.

To my mind, the film bears a comparison with KG George’s Irakal and also Dileesh Pothan’s Joji , but in a positive way and in many parts, including the location, the house, and the central character.

Malayalam film ‘Appan’

The script is as good as the other flicks. The text is dense and the dark humour is too good.

Throughout the movie, all the actors are truly riveting. Alencier Ley Lopez as the cruel and poisonous Ittychan walks away with the film. He is so devoted to his role.

Sunny Wayne encapsulates the character as perfectly as you can get. He was so pure and emotionally complex. Ananya, in particular, is truly awesome as Noonju’s wife Rosy. Pauly Valsan plays Ittychan’s wife Kuttyamma to perfection.

Radhika Radhakrishnan, who plays the role of the sex-worker Sheela, is incredible at playing an extremely complex character. The rest of the cast is good, too.

Maju presents an intense story

We can see a strong writer and director in Maju, especially in a few powerful scenes and in some characters during the emotional outburst of Kuttyamma, and Sheela’s scenes with Ittychan.

Maju’s Appan is presented and directed with a strong sense of intensity and darkness. It is a well-paced and quite deliberate flick.

Actor Ananya in a still from her latest release ‘Appan’. (Supplied)

It’s a sumptuous meal for the fans of KG George cinema and Shakespearean stories. It’s vital to pick the perfect time to watch it because it’s not an easy movie.

The locations were superb, and hugely dramatic, so fitting to the subject.

It has an interesting cinematic style, by using a slow pace, to capture the emotions of the characters.

The movie’s amazing cinematography is accompanied by minimal and haunting soundtracks. The music was powerful, supporting the dark lines, and subtly giving the scenes more impact.

Appan is a pace-controlled thriller drama along the lines of the recent Joji , Kaanekkaane and Aarkkariyam . Overall, it is a gripping, intense drama with few wonderful performances. It’s streaming on Sony LIV.

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• Malayalam cinema
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Appan Movie Review: A realistic and relatable drama on dysfunctional families

Rating: ( 4 / 5)

The initial scenes of Appan introduce us to a family, in which the daily discussion primarily revolves around the much-anticipated demise of the paralysed Itty (Alencier Ley Lopez). While their minds yearn for the death of the depraved patriarch —a womaniser, abuser and a cheater — their hearts want to protect him. This film critically examines the nitty-gritty of toxic parent-child relationships, through two father-son equations and the prolonged trauma of their dysfunctional family dynamics expressed through a raw and realistic portrayal. 

Cast: Alencier Ley Lopez, Sunny Wayne, Pauly Valsan, Ananya, Grace Antony Streamer: Sony Liv Director: Maju

Set in the hilly terrains of Thoduppuzha, Appan follows a resettled Christian family — Itty, his wife Kuttiyamma (Pauly Valsan), their son Njoonj (Sunny Wayne), Njoonj's wife Rosy (Ananya), and their son Abel. Njoonj, a victim of long-term parental abuse, makes his living by tapping rubber. He wants two things in his life —a peaceful life for his mother and a better family setting for his son. Kuttiyamma has been withstanding Itty's abuse and torture to ensure her son gets a recompense. While the family awaits the death of Itty to get their share of the property, the villagers too chart out plans to kill him for all the troubles he has caused them. 

What follows is a series of occurrences that escalate the pressure on the family and how one event changes their lives forever.

Filmmaker Maju and co-writer Jayakumar have given much detail to the characters. Njoonj exhibits his vulnerability, especially in the scenes with his son. Even at the height of his anger, Njoonj doesn't express it with his little son. The struggle to break the cycle of intergenerational trauma is beautifully staged. Another intriguing aspect of Njoonj's character is how he does not reenact the trauma he faced. However, at one point, when he loses his temper and takes on his father violently, his mother reveals that she fears he may inherit his father's legacy of sins. The pressing remark makes him more aware and sensitive.

Pauly Valsan as the tormented Kuttiyama wonderfully portrays the unhealed scars of abuse, torture and ill-treatment. It is a very unsettling and poignant moment when she says she wants to go to the cemetery to rest as she never got to retire in her life. 

On the other hand, Ananya is back with a bang. Her nuanced reactions and coherency in dialogue delivery are effective. Grace Antony, who plays Molly, Njoonj's sister, shines despite the limited runtime. Interestingly, the makers draw a subtle parallel between the needs of two married women, Molly and Rosy. While Molly is at her mother's home to unwind, Rosy is exhausted by the drama and wants to visit her maternal house. 

The star of the show is definitely Alencier. Despite restricted movements, the actor consummately essays the role of Itty. We feel agitated by his lewd and nasty language and are disgusted by his immoral behaviour. Itty's sexist and chauvinistic character makes us want to hate him more and more. The audience too soon understands the emotional rollercoaster that the rest of the family has been riding for years. A newcomer Radhika, plays Sheela, a crucial role in the film. She excels at it with her phenomenal performance, particularly in the final act.

Appan's realistic portrayal is the result of the makers' diligence to capture even the most minute details, such as the dialect, cultural elements, lifestyle, and more. The layers in the story also reflect the makers' sound understanding of socio-psychological subjects, observation of interpersonal relationships, and other institutions.

Even though the film is shot in a confined space — an old Christian mansion and the rubber estate surrounding it — some riveting long shots and mid-tight shots familiarise us with the locality and emotions of the characters. The melancholy music strikes the right chord with the audience by elevating the film's mood.

It was refreshing to see the film break out of the cliches like the heel-face turn trope, or the obnoxious bond between in-laws. Even though the focus is on the intergenerational facet of the father-son relationship, Appan darts on a subtle yet striking female camaraderie as Sheela, Rossy, and Kuttiyamma stand for each other at their darkest phase.

Meanwhile, there are also considerable loopholes, perhaps mysterious knots, for the audience to untie. However, the film works even without it. And following a heavy build-up, the introduction of an external factor as a villain-of-sorts in the final act could have landed better. However, with the heart in the right place, the sensibly executed ideas and reasonably good suspense elements outweigh these middling points. 

Among the handful of analogies, one marked a stark impact and resounded the finesse in writing. There is a bulb at the house verandah, which can never be switched off and only leads to unnecessarily high electricity tariffs, just like Itty, who is no good for the family. At a vital point in the film, one of them removes the bulb, but later, in the end, Njoonj replaces it, marking the proverbial ray of light to a new dawn. After all, every ending leads to a new beginning.

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Appan movie review: Unapologetic portrait of a family in the grip of a vile, debauched patriarch

Sunny Wayne delivers a career-defining performance as a son suffocated by his father. He and his incredible co-stars help Maju fearlessly paint a disturbing picture of toxic masculinity.

Cast: Sunny Wayne, Ananya, Alencier Ley Lopez, Pauly Valsan, Grace Antony, Radhika Radhakrishnan, Vijilesh Karayad, Anil K. Sivaram, Geethi Sangeetha, Drupad Krishna

Director: Maju

Language: Malayalam

As the curtain rises on director Maju’s Appan (Father), a man is heard singing raucously and laughing loudly over the pin-drop silence in the rest of the house. It’s daybreak, and the only other people awake in that home are a woman and a man soundlessly getting ready for work.

That disruptive voice briefly brings to mind the bed-ridden grandfather in K.G. George’s Irakal (1985), lying ignored in a corner of his large home, his mind fogged up by age, ill-health and possibly by his irrelevance, shouting anxiously for attention. Only briefly.

Itty ( Alencier Ley Lopez ) in Appan shouts too. But unlike the patriarch in Irakal , this old man hollers, and not out of desperation, but to swear at, taunt and shame his wife Kuttyamma (Pauly Valsan), son Njoonju ( Sunny Wayne ), daughter-in-law Rosy (Ananya), other relatives and even most visitors. He is paralysed below the waist but far from incapacitated or neglected.

Itty clutches his family in a vice-like grip, strategically combining emotional abuse with the threat of bequeathing his considerable properties to someone else.

In a society that finds ways to point fingers at women for the intimate-partner violence they face, it is common to ask: why didn’t she leave? Here in Appan , though Kuttyamma is blamed by at least one character for tolerating Itty, we also witness a gender role reversal and find the answer to a question no one asks: why doesn’t he leave?

As a child, Njoonju suffered the psychological trauma of growing up in a violent home. As an adult, he remains a target of his father’s foul tongue and the suspicions of others that he too might one day turn into an Itty. Why then does Njoonju not abandon Itty?

Appan is a film on the hold that abusers in a range of relationships – spousal, parental, even ‘romantic’ – have over their victims, and the power that patriarchy gives men not only over female relatives but also their male offspring.

Maju (who earlier directed French Viplavam ) and R. Jayakumar have written a minimalist script, revealing details of only some of Itty’s wrongdoings and partial backgrounds of various characters in small increments right till the end. The single point made obvious from the start is that Itty is a horrible human being widely hated in the village and by his family.

The action never moves beyond the land around this home. It is a measure of the effectiveness of the writing, the gently haunting nature of Dawn Vincent’s music, and cinematographers’ Pappu and Vinod Illampally’s grasp on the material that, despite playing out in a limited space, Appan is engaging till the closing shot. There are places here and there when the film seems to stretch itself a bit, but the entry of a new character shakes up the mix each time.

Initially, Appan gives the impression that it will be a satire, as successive conversations revolve around everyone’s hope that Itty will die. The script is unable to sustain the tone of those early discussions though (the first of them feels particularly incongruous in retrospect), with the film getting progressively grim until it is clear that Appan is an unapologetic portrait of familial misery rivalled in Malayalam cinema in 2022 by the hero’s despair in Paka (River of Blood) _._

The primary characters and two others – the daughter Moly (Grace Antony) and the sex worker Sheela (Radhika Radhakrishnan) – are written with depth and detail, and beautifully acted. Of course there is irony in the casting of Alencier as one of the leads in a film about how tolerant a patriarchal society can be towards male obnoxiousness. MeToo now appears to be a distant speck in the film industry’s and public memory.

The main characters in Appan are not conventional despite the conservative setting, nor are they cinematic clichés.

Indian society stereotypes mother-in-law/daughter-in-law relationships as inevitably adversarial, but here in Appan , as in 2021’s The Great Indian Kitchen , we are shown the potential for warmth between two such women, in Kuttyamma and Rosy’s love for each other. Kuttyamma lashes out at women with whom Itty had affairs, and in one instance, Njoonju questions her for misdirecting her fire, which he feels should be aimed at Itty alone, but here too, we see an alternative scenario emerging, as mutual suffering leads to empathy developing between women for whom it would be natural to be at loggerheads with each other.

The most uncommon of all the characters in Appan are Sheela and Njoonju. Both Radhika Radhakrishnan and Sunny Wayne are outstanding in their respective roles.

The parent-child bond is romanticised by Indian society and films, but Appan portrays a reality largely ignored by both: the reality of a bitter parent-child relationship and the pain of elder care when imposed on children by social conditioning and/or lack of choice even if a parent is a nasty piece of goods. Considering that mainstream Indian cinema continues to celebrate toxic masculinity and autocratic fatherhood, it takes courage to do what Maju does in this film: de-romanticise the appan of a family and call him out for the horror that he is.

(Minor spoilers in this paragraph) More than once, Njoonju is offered a chance to stand by as someone else finishes off Itty. The viewer can decide whether human instinct, a misplaced or confused sense of duty, his conscience or conditioning drives his response to that option. Njoonju is written with a profound understanding of the human psyche; I found myself unconvinced only by a scene in which Njoonju defends his father at great risk to his own life and another in the finale when he displays genuine tenderness towards Itty.

Sunny Wayne has been making some brave choices in the past couple of years, playing the conflicted husband of a woman who wants an abortion in Sara’s , a policeman who screws up in Kuttavum Shikshayum and now this. He delivers a career-defining performance as Njoonju, embracing his character’s suffocation in every line of his physique, in his wilting voice and drooping demeanour. With Sunny and the rest of the incredible cast on his team, Maju fearlessly paints a disturbing picture of manipulation by a vile, entitled, debauched patriarch and the wretchedness of those he controls.

Rating: 3.5 (out of 5 stars)  

Appan is streaming on SonyLIV

Anna M.M. Vetticad is an award-winning journalist and author of The Adventures of an Intrepid Film Critic. She specialises in the intersection of cinema with feminist and other socio-political concerns. Twitter: @annavetticad, Instagram: @annammvetticad, Facebook: AnnaMMVetticadOfficial

Read all the   Latest News ** , **  Trending News ** , **  Cricket News ** , **  Bollywood News ** , **  India News   and   Entertainment News   here. Follow us on   Facebook ** , **  Twitter   and   Instagram _._

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Appan Review: A Moving Tale About Ancestral Sin Pulled Down By Weak Filmmaking

Director: Maju

Writers: R. Jayakumar, Maju

Cast: Sunny Wayne, Ananya, Grace Antony

Streaming On: SonyLIV

Appan is built on a fascinating image of a family trying to go about their modest daily life as a steady stream of curses runs in the background, emitting from a room in the front of the house. Itty (Alencier), the patriarch, who spent all his life hunting, killing and sowing wild oats, is now paralysed and bedridden. Day and night, he shrieks like a mad horse at the people at whose mercy he survives, as though he is testing their moral courage. As though to see how much more harassment the long-suffering wife, Kuttiyamma (Pauly Valsan), and the god-fearing son, Njoonj (Sunny Wayne), will take before they cross their lines.

Directed by Maju, Appan might remind one of the films that occupied the Malayalam television realm in the mid-90s before the tacky soap operas usurped the space. The sturdy plot proceeds in a straightforward, linear fashion; the movie refuses to commit any formal experiments that fit the time. The biggest casualty of this old-fashioned approach is the ill-edited final sequence which, instead of delivering a blow to the viewers, pushes them away. The melodrama falls flat.

Maju's limitations as a filmmaker and his dire aversion to adventure turn out to be catastrophic. But, if one can overlook these fatal flaws, there is much to like about Appan . It is the latest film to be set in Central Kerala’s high-land rubber villages, which have served as the setting for many a brutal tragedy, from KG George’s iconic Irakal to Dileesh Pothan’s Joji (2020) and the recent Udal (2022). Several of these films make quiet references to the history of the High Range Colonization Scheme, the migration of people from the state’s mainland to the mountains of Idukki and Wayanad in the 1940s.

Itty, who belongs to a family of settlers, holds several acres of land which acts as his protective suit. Kuttiyamma tolerates him so that Njoonj gets the hereditary wealth and is freed from all the sufferings﹣ material and spiritual. The daughter (Grace Antony) puts up an act of love only for the promise of a share of the wealth. In a hilarious scene, possibly the film's best moment, the family and friends stand outside the patriarch's room after sending his lover inside. The camera steps back and forth, observing the characters waiting by the door in exasperation, despair or amusement, and ultimately exploding into mayhem.

The women, who have always lived under the supervision of men, express in an acerbic tone their hopelessness about a better future. The performances are powerful, namely of Valsan, a state-award-winning actress. Watch her narrate to her daughter-in-law (Ananya) a sweet dream from the previous night about witnessing her husband’s death. "What a lovely sight it was!" she says, her face shining in bliss, only to be crushed in the next moment by the brutal reality. Sufferings in the long term must turn a side of the brain stone-cold. The writers (R Jayakumar and Maju) rightly recognise the complex psyche of these characters who yell at each other, curse or feign emotions and hold hands in solidarity in the most unusual moments. They are not tied down in pity.

The church does not make an appearance barring in a brief scene of a priest’s house visit. Yet, religion and the figure of God are ubiquitous, in the form of Christmas lights or the little boy looking for his beloved dog. Itty’s firm confidence in his masculinity and material wealth is in tight contrast with Njoonj’s profound spirituality and his fear of sins and the thought of sinning. The son’s complex love for the father, who is the moral decay at the centre of his existence, gives the film its emotional weight. When the villagers, one after another, arrive with ideas and resolutions to kill Itty, Njoonj pleads and protests. He who grew up as an unfortunate child, shunned by society for the sins of his father, cannot afford to bear the weight of another sin. It is a poignant characterisation.

Sunny Wayne, also the film's co-producer, is a star who has never shown great promises as an actor. He is strictly effective as Njoonj whom he defines by a lousy haircut and permanent stress lines on the forehead. He expresses just the pain of being a beta male in a world run by the repulsive alpha. But he blurs the young man’s profound and perplexing love for the father. Alencier recognises the no-holds-barred nature of Itty, but the cosmetics in the actor's body language and voice are a little too apparent. He shuts the door to Itty's inner life and turns him into a mere callous, shrieking machine.

Mohanlal's Naatturajavu (2004) handled a similar theme, in a nonsensical fashion, about a man trying to pay back for his father's sins. Maju's film attempts to go deeper into the subject, yet never really touches its core. Appan ’s mainstream-friendly finale points to nothing profound or thought-provoking, just plain vanilla wisdom that the savage will come to a savage end.

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Appan Review: A terrific tale of a dysfunctional family

Malayalam cinema has seen several films about dysfunctional families. But not many like ‘Appan’. Maju KB’s film, set amidst a sprawling rubber estate, reminds one instantly of KG George’s classic ‘Irakal’. The treatment in both these films are also similar, and the result — a terrifically disturbing film like its inspiration.

Appan, the titular protagonist in the film, is played by Alencier Ley. His character Ittychan is bedridden. But not one person has an ounce of sympathy for him. He is a foul-mouthed, cruel womaniser who was a nuisance to the whole village during his heydays. Even after being half paralysed, he doesn’t mend his ways. He continues to harras, abuse and torture his family. His son Njoonju (Sunny Wayne) takes care of the family, which comprises of the mother Kuttyamma (Pauly Valsan), his wife Rosy (Ananya) and their son. All the family members await for Ittychan’ death, while the villagers who had bitter experiences with him in the past hatch plans to kill him. Njoonju, who tries his best not to be like his father, desperately wants him to die but isn’t willing to kill or let others kill him.

Appan is a great example for how minimal but effective writing can elevate a film. Almost the entire film is set within the house and the rubber estate behind it. But it hardly feels monotonous because of the grip in making. The screenplay is also structured smartly for the viewer to never complain of any lags.

Appan is studded with brilliant performances from all the actors. As Njoonju, Sunny Wayne delivers his career best act. He conveys the trauma and agony of a son, who despises his dad brilliantly. The women in the film — Pauly Valsan, Ananya, Grace Antony and the actor who played Sheela’s role are also equally brilliant. However, the standout performer is still Alencier. Despite having just half of his body to perform, the actor comes up with a performance that ensures every single person watching the film will hate Ittychan. We have seen Ittychans in our films before, as cruel villains who get killed by the hero. But here, we get to see the character in-depth, understand his psyche and the irredeemable ways. Alencier pulls it off stunningly.

The makers of ‘Appan’ have made a smart decision by opting for an OTT release. It is not an easy watch for everyone, but those who choose to watch it, will definitely love it and see themselves digging deep about the characters even after the film is over.

Movie Ratings

• Direction - 9/10 9/10
• Artist Performance - 9.5/10 9.5/10
• Script - 9/10 9/10
• Technical Side - 8.5/10 8.5/10

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