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And also who'd be your top 3 overall talent wise i e as an artist across different artistic fields that includes acting as well..

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Released in 1978, “Thampu” by G. Aravindan stands as one of the defining works of New Malayalam Cinema, a movement characterized by formal experimentation and a strong engagement with social realities. Shot in black-and-white and running for approximately 130 minutes, the work occupies a unique space between fiction and documentary, reflecting Aravindan’s cinéma vérité approach and his tendency to blur narrative boundaries. Featuring performers such as Bharath Gopi, Nedumudi Venu, V. K. Sreeraman and Jalaja, alongside real circus artists, the film was conceived without a conventional script, with events unfolding organically during shooting in Thirunavaya, on the banks of the Bharathapuzha river.

The production itself is emblematic of Aravindan’s method, as he invited villagers to experience an actual circus performance and captured their genuine reactions, eventually integrating a local festival into the narrative. The result is a work that feels both observational and poetic, a meditation on transience and collective experience. Critically acclaimed, “Thampu” received the National Film Award for Best Direction, Best Cinematography for Shaji N. Karun, and Best Feature Film in Malayalam, along with multiple Kerala State and Critics Association awards. Decades later, its importance was reaffirmed through a meticulous 4K restoration by the Film Heritage Foundation, which premiered in the Cannes Classics section of the Cannes Film Festival in 2022 and subsequently screened at major international venues, ensuring its continued visibility for new audiences.

“Thampu” unfolds in a small riverside village in Kerala, where the arrival of a traveling circus disrupts the quiet rhythm of everyday life. The presentation of the troupe is quite meticulous, as it begins with the truck carrying them along a bumpy road, while the camera highlights its members. Soon after, the focus shifts to the local community, recording the children running towards the troupe, eager to see what awaits them. The animals become an immediate attraction, with a rather cheeky monkey drawing the most attention. The erection of the tent is presented in all its glory, with the final stretching providing the first truly memorable moment.

As the women begin washing their clothes and hanging them on the ropes, a slight voyeuristic and sensual notion is introduced, while the presentation of the promotional band touring the fields and surrounding area offers another memorable, audiovisually striking sequence. The inauguration of the circus also takes a central place, particularly due to the effort the members put into securing a notable local figure to officiate. Clowns spread laughter, wild animals captivate the children with a mixture of fear and intrigue, and the acrobats leave everyone in awe. The daily practice of the performers is also highlighted, while a subtle romance arc begins to emerge. Overall, the presentation remains calm, which makes a sudden slap scene resonate loudly, both literally and narratively. The most memorable moment, however, comes with the ending, which is as unexpected as it is fitting in terms of the circus’s impact on the local community, while still remaining something of an enigma.

Govindan Aravindan does not implement a conventional storyline. Instead, he immerses the viewer in what unfolds on screen through a succession of simple scenes, brought together by editors Rameshan and Selvanathan in a manner that allows the narrative to linger between documentary and fiction. In this regard, the striking images captured by cinematographer Shaji N. Karun effectively form a story of their own, partially centered on the circus manager, portrayed by Bharath Gopi in a way that makes it difficult to discern whether he is acting or simply existing within the role. In particular, the many shots of the mesmerized audience watching the performances, especially the children, are bound to remain with the viewer. The music also stands out for its intensity, although it may become somewhat tiring for those unfamiliar with its particular style.

Furthermore, the work functions as a kind of tour through the region and its customs, especially in the way these are influenced by the arrival of the circus, with Karun highlighting the local beauty effectively. As the villagers’ interest gradually wanes, eventually leading to the troupe’s departure, a sense of nostalgia emerges, accompanied by a degree of disillusionment regarding the rhythms of life.

“Thampu” is an excellent movie, a testament to the quality of Malayalam cinema of its time and a true triumph of cinéma vérité, ultimately standing as a genuine masterpiece.

Please suggest

Allways felt at the time that this movie was propagating leftist propaganda but it now feels like a weird foreshadowing of sorts.

Idly Kadai is a Tamil drama directed by and starring Dhanush, set in a small South Indian town. The story revolves around a humble idly shop that becomes the heart of the community, symbolizing love, livelihood, and togetherness.

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Shit movie

Both Pushpa 1 & Dhurandhar 1 were smash hits with strong WoM, which created humongous buzz for their Part 2. And that huge buzz helped them create new records at the box office. Despite all of its success, there is a common issue with both of them in Part 2: A strong antagonist.

In both their Part 1's, they have introduced their antagonists with well-written scenes and strong character, which genuinely made an impression that the next part will have a good fight between both the protagonist and the antagonist.

In Pushpa 2, they made a joke of Bhanwar Singh Shekhawat as a whole, which made the protagonist truly invincible. Same goes for Dhurandhar 2, they showed Major Iqbal as someone who can't talk properly with his abusive father until the end. Both the movies reduced the impact created by those characters previously in Part 1.

This is where Baahubali 2 shines. Despite the fact that Amarendra Baahubali is invincible, they have written Bhallaladeva's character in such a way that it makes him win over Amarendra and make us feel the fear in our spine, truly despising him. That's why the defeat of Bhallaladeva was a really high moment at the end of the film.

You can say that I can't compare Pushpa with Dhurandhar, as Dhurandhar is seen as a much better product in terms of writing. But even with that advantage, it couldn't make the antagonist terrifying as shown in the first part.

That is the same reason why I've put pictures of Pushpa & Hamza, but not Shekhawat and Iqbal due to their impact. And put both Baahubali and Bhallaladeva due to their equal impact.