Malabar wedding music download

Malabar Wedding Movie songs

Movie Name : Malabar Wedding
Year : 2008
Cast : Gopika, Indrajith, Jagathy Sreekumar
Music Director : Rahul Raj
Director : Faizal, Rajesh
Producer : B Devarajan , Santosh Kumar
Lyrics : Jofi Tharakan


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Malabar Wedding


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Watching Rajesh Faisal’s debut film ‘Malabar Wedding,’ what strikes one immediately is the film’s irreverence towards linear narrative with a beginning, middle and end.

But the film refuses or hesitates to take this irreverence to its possible extensions. It thus fails to live up to its madness to make it a very interesting film centred around marriages and male bondings. The film is about ‘sora’ (banter or gossip, playfully malicious that could create real trouble and chaos in weddings, especially of friends) that surrounds all weddings, right from the stage of the proposal to its final consummation.

Everything happens around a group of friends in a Malabar village, all of marriageable age who have made it their vocation to mess up marriages through their practical, and sometimes cruel, jokes. It is an all-male world of playfulness. They have a temporary shed in the middle of the village where they play cards, drink, chatter and conspire on all the happenings in their domain.

The entry of a female in the form of a bride is thus an incursion into their complete little world, and is resisted through all the ‘other means’ of ragging and mockery. It is a Bacchanalian world dominated by male pleasures and adventures, one that is closed in upon itself. Marriage is an aberration and is duly punished by the gang members. For as far as these promiscuous male bondings are concerned, every marriage is a betrayal, another member lost to the evergreen group. It is also an inevitable moment of transition, of growing up to society and its responsibilities, which the boyish companionship subconsciously resists. It is a society that refuses to grow up, and would like to live forever in the pre-marital bliss of male bonding.

In contrast to this adolescent fervour of the gang of men, family is an alien structure that sucks you into its vortex of performance. Most visibly, it forces you into the confines of home, thus gradually forcing you to relinquish the open and free domain of the ‘sora’ site of the pandal in the middle of the village. It ‘socialises’ by withdrawing you from society. So, marriage and family, the event and the institution that follows are nothing but performances.

It is a world of role-play with a very limited repertoire. You are either an uncle, a father, or a husband. The film journeys through three marriages where members of the group become ‘married’ and ‘responsible’ men from being frolicking bachelors always ready to make merry and indulge in endless to ‘gay’ abandon. As the film progresses from one marriage to the other (first of Abubacker (Mamukoya), then Suraj Venjaramoodu and finally, Manukuttan (Indrajit), the ‘sora’ becomes gradually serious. In the final marriage, the marriage itself is almost ruined by his merry-making friends. They all have double-names drawn from their past and family vocations.

Male bonding (of friendships and also rivalries) abounds in the film. In the foreground are the group of ‘sora’ friends, who spar with words and deeds. The uncles of Indrajit are eternal rivals, always trying to outsmart each other. The cooks who come to arrange the marriage feast are also a male duo, the chief who is hearing-impaired and his assistant who ultimately messes up the marriage biriyani, forcing his chief to relinquish his vocation. Interestingly, the romance that develops between the helper-woman and the chief cook fizzles out as the latter loses his earphone at a critical moment, which prevents him from entering into a marriage.

But the film in its lack of confidence in itself or the audience, and the hurry to entertain, make a rush totally failing to orchestrate a proper narrative pace. In the end, the film suddenly retracts its steps and compulsively concocts a long-winding story with a lot of twists and turns.

Here, it is the bride’s almost incestuous relationship with her brother that forms the crux of the issue. It would have been a daring film if only it had tried to be faithful its own belligerence and irreverence, or in other words, to ‘sora’.