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‘Monster’ movie review: An endurance test of a film, with a warped portrayal of LGBTQIA+ issues

It has to be said that the mohanlal starrer’s portrayal of lgbtqia+ characters does not help in normalising them, but rather in further stigmatising them.

October 21, 2022 03:48 pm | Updated October 22, 2022 02:03 pm IST

Mohanlal in ‘Monster’

When some mainstream filmmakers and scriptwriters suddenly begin to talk about a “subject that has not been talked about much in our cinema,” which often means a film that touches upon LGBTQIA+ issues, one is now filled with a sense of dread going by their past record of negative portrayal of these communities. Any hopes of them correcting past wrongs are often misplaced, as is yet again proved in Monster.

But a discussion on this has to wait. Only a viewer who can manage to sit through the unendurable first hour of the movie would reach these portions where the scriptwriter tries to become progressive. This first hour is the extended slot set aside for Lucky Singh (Mohanlal) to regale the audience with his Punjabi lines (a mish mash of "Balle balle" and "Soni Kudi") and loads of humour, which is most often an excuse for crass double entendres.

Singh, who runs a chain of restaurants in Punjab, has landed up in Kochi to close a land deal. He ends up becoming a headache for Bhamini (Honey Rose), a cab driver who is assigned to pick him up from the airport, as he insists on her ferrying him around throughout the day. He even barges into her house, where she is set to celebrate the first wedding anniversary with her husband Chandran (Sudev Nair). But, as most people might have already guessed from the patterns seen in quite a few films in recent years, there is more to Lucky Singh than meets the eye.

Filmmaker Vysakh and scriptwriter Udaykrishna, who had previously gifted Mohanlal one of the biggest hits of his career with Pulimurugan (which had its share of issues), team up yet again for Monster , where they try their hand at the thriller genre, with a seemingly-progressive twist. At the risk of revealing plot spoilers, it has to be said that the movie's portrayal of LGBTQIA+ characters does not help in normalising them in mainstream cinema, but rather in further stigmatising them.

As per the scriptwriter’s theory, the society’s attitudes and ill-treatment of homosexuals can turn them into hardened criminals, who would then execute a series of crimes with a vengeance. In one key scene, where the lesbian couple is being confronted by a police officer, they proceed to kiss each other in front of him, in an attempt to overemphasise their sexual identity. Sequences like these give one an idea of the warped understanding that the makers have of these communities. Clearly, not much research has gone into writing these parts, which were probably included just because “progressive subjects” have a market these days.

Laziness is written all over the script, with much of the thriller part involving Lucky Singh narrating the entire sequence of events to a set of police officers, who were clueless about what was going on, because they hadn’t watched previous Udaykrishna offerings like Aarattu . Even the film’s title appears to be a random choice, evident from the last scene where an attempt is made to explain it, as an afterthought. It takes quite some monstrous levels of will power to endure this test of patience.

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Mohanlal-Vysakh duo's 'Monster': A thriller that rains twists

Malayalam's tryst with Punjabi costumes aren't new. So when Mohanlal-starrer Monster, written by Uday Krishna and directed by Vysakh, opens to the vibrant and garrulous Lucky Singh's (Mohanlal) ‘belle belle’ and the turban, the eager audience is quite at home.

Bhamini (Honey Rose) is a She Taxi driver who picks up Lucky Singh on his arrival at the airport. Lucky Singh has a few things to sort out in Kerala and catch the flight back in the evening. 

The Malayali-Sardarji insists on Bhamini's presence with him, which the latter agrees to reluctantly, despite it being her first wedding anniversary and she has to be with her husband. 

Filmmaker Vysakh responds to troller who called 'Monster' a zombie film

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Lucky Singh is adamant and gatecrashes into their personal space, befriends their five-year-old daughter and the nanny Durga (Lakshmi Manchu) and spearheads the celebration.

The movie progresses with few businesses to take note of but leaves enough hints of something big in store. The story then veers into a thriller terrain and keeps on raining twists. Honey Rose's superb performance makes situations convincing, while meticulously choreographed action sequences might kick you out of boredom. Lakshmi Machu also offers some moderate drama. Mohanlal holds his forte with elan.

The charming visuals and faces which fill the frames, a peppy foot-tapping number that beautifully blends Punjabi, Hindi and Malayalam lyrics and an impactful BGM by Deepak Dev will keep you glued to the screen.

Apart from that, the entourage of a huge police force including Siddique, Ganesh Kumar, Lena and Anjali Nair serves as an unwarranted burden on the storyline.

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Monster Movie Review & Rating: പുതുമ, വ്യത്യസ്തത എന്നിവയ്ക്കായി എന്തും ചെയ്യാമോ?; 'മോൺസ്റ്റർ' റിവ്യൂ

Monster movie review & rating: ട്രീറ്റ്‌മെന്റിലും സമീപനങ്ങളിലുമൊക്കെ ചില അപകടങ്ങളും കള്ളനാണയങ്ങളും ഒളിഞ്ഞിരിക്കുന്ന ചിത്രം കൂടിയാണ് 'മോൺസ്റ്റർ'.

Monster Mohanlal Movie Review & Rating: മോഹൻലാലിൽ നിന്നും എന്താണ് ഇപ്പോൾ മലയാള സിനിമ പ്രതീക്ഷിക്കുന്നത്? മോഹൻലാൽ ചിത്രങ്ങൾക്കായി പ്രതീക്ഷയോടെ കാത്തിരിക്കുന്നവരിൽ പ്രധാനമായും മൂന്നു വിഭാഗമാണുള്ളത്. ഒന്ന്, താരത്തിന്റെ ഫാൻസ് സമൂഹം തന്നെയാണ്, ഇറങ്ങുന്ന പടങ്ങളുടെ കലാമൂല്യത്തേക്കാളും എന്റർടെയിന്റ്മെന്റ് വാല്യൂവിനേക്കാളും അവർക്ക് പ്രധാനം സ്ക്രീനിൽ നിറഞ്ഞു നിൽക്കുന്ന അവരുടെ സൂപ്പർസ്റ്റാറും ആഘോഷമാക്കാനുള്ള മാസ് ഡയലോഗുകളും കോടി ക്ലബ്ബ് റെക്കോർഡുകളുമൊക്കെയാണ്. രണ്ടാമത്തെ വിഭാഗം, മോഹൻലാൽ എന്ന നടനിലെ പ്രതിഭയുടെ ആരാധകരാണ്. ക്രൗഡ് പുള്ളറായി നിറഞ്ഞു നിൽക്കുമ്പോഴും ഒരു രംഗത്തിലെങ്കിലും വിസ്മയിപ്പിക്കുന്ന ലാൽ മാജിക്കിന്റെ ബഹിർസ്ഫുരണങ്ങൾ കണ്ടാൽ സന്തോഷിക്കുന്നവർ. മൂന്നാമത്തേത്, എപ്പോഴും സൂപ്പർസ്റ്റാർ ഇമേജിൽ മാത്രം മോഹൻലാൽ എന്ന താരത്തെ നോക്കി കാണാൻ ഇഷ്ടപ്പെടുന്നവർ. ഈ മൂന്നു വിഭാഗങ്ങളെയും തൃപ്തിപ്പെടുത്തുക എന്നതാണ് മോഹൻലാൽ എന്ന നടൻ നേരിടുന്ന പ്രധാന വെല്ലുവിളി.

മലയാള സിനിമയിൽ നിൽക്കാവുന്നതിന്റെ ഏറ്റവും ഔന്നിത്യത്തിൽ നിൽക്കുമ്പോഴും, നിരന്തരം പോളിഷ് ചെയ്ത് മുന്നോട്ടു പോവുകയെന്നത് അഭിനേതാവെന്ന നിലയിൽ മുന്നോട്ടുള്ള യാത്രയിൽ നിർണായകമാണ്. ആ രീതിയിൽ വേറിട്ടൊരു ചുവടുവെപ്പിനുള്ള സമയം അതിക്രമിച്ചിരിക്കുന്നു എന്ന് ബോധ്യപ്പെടുത്തുകയാണ് ഇന്ന് തിയേറ്ററുകളിലെത്തിയ 'മോൺസ്റ്റർ' എന്ന ചിത്രവും. പല കുറി കണ്ട മോഹൻലാൽ ഭാവങ്ങളുടെ, കഥാപരിസരങ്ങളുടെ, കഥാപാത്രസൃഷ്ടികളുടെ തുടർച്ച മാത്രമാണ് ഈ ചിത്രം.

കഥയിലേക്ക് വന്നാൽ, ഷീ ടാക്സി ഡ്രൈവറാണ് ഭാമിനി (ഹണി റോസ്). ഒരു ദിവസം, ഭാമിനി എയർപോർട്ടിൽ നിന്നും ലക്കി സിംഗ് എന്ന യാത്രക്കാരനെ പിക്ക് ചെയ്യുന്നു. ടർബൻ (പഞ്ചാബികളുടെ തലയിൽ കെട്ട്) കെട്ടി, കയ്യിലൊരു ബാഗുമായി എത്തുന്ന ലക്കി സിംഗിനെ ഒരു സന്ദർഭത്തിൽ സ്വന്തം ഫ്ളാറ്റിലേക്കും ക്ഷണിക്കാൻ ഭാമിനി നിർബന്ധിതയാവുന്നു. ഭർത്താവിനും മകൾക്കുമൊപ്പം സമാധാനപൂർണമായ ജീവിതം നയിക്കുന്ന ഭാമിനിയുടെ ജീവിതത്തിലേക്ക് അപ്രതീക്ഷിതമായി ഇടിച്ചു കയറി വരുന്ന ലക്കി സിംഗ് യഥാർത്ഥത്തിൽ ആരാണ്? എന്താണ് അയാളുടെ വരവിന്റെ ഉദ്ദേശം? 'മോൺസ്റ്റർ' പറയുന്നത് ലക്കി സിംഗിന്റെ വരവിനു പിന്നിലെ ആ ഉദ്ദേശത്തിന്റെ കഥയാണ്.

ഇൻട്രോ സീൻ മുതൽ അങ്ങോട്ട് അൽപ്പം ഓവറല്ലേ ഇയാളെന്ന് പ്രേക്ഷകരെ കൊണ്ട് തോന്നിപ്പിക്കുന്ന ലക്കി സിംഗ് ആദ്യകാഴ്ചയിൽ പ്രേക്ഷകർക്ക് ദഹിക്കാൻ അൽപ്പം ബുദ്ധിമുട്ടുള്ള കഥാപാത്രമാണ്. എന്നാൽ ക്രമേണ കഥയുടെ പ്ലോട്ട് തന്നെ മാറി മറിയുന്നതോടെ, പാത്രസൃഷ്ടിയ്ക്ക് അതാവശ്യമായിരുന്നു എന്ന് ബോധ്യപ്പെടുത്തുകയാണ് ചിത്രം. എന്നിരുന്നാലും, ഇതു വരെ സ്ക്രീനിൽ കണ്ടതിനപ്പുറം പുതിയതൊന്നും മോഹൻലാലിൽ പ്രേക്ഷകർക്ക് കാണാനാവില്ല.

ഹണി റോസിന്റെ ഭാമിനി എന്ന കഥാപാത്രത്തെ ചുറ്റിപ്പറ്റിയാണ് കഥയുടെ സഞ്ചാരം. ഒരർത്ഥത്തിൽ ഭാമിനിയുടെ കഥയാണ് 'മോൺസ്റ്റർ' എന്നു തന്നെ പറയാം. ആദ്യം മുതൽ അവസാനം വരെ ഇത്രത്തോളം പ്രാധാന്യത്തോടെ ഒരു കഥാപാത്രത്തെ ഹണി റോസ് അവതരിപ്പിക്കുന്നതും ഒരുപക്ഷേ ഇതാദ്യമാവാം. ഭാമിനിയെ മികവോടെ തന്നെ അവതരിപ്പിച്ചിട്ടുണ്ട് ഹണി. സുദേവ് നായർ, ജോണി ആന്റണി, ലക്ഷ്മി മാഞ്ചു എന്നിവരും ശ്രദ്ധ നേടുന്ന പ്രകടനമാണ് കാഴ്ച വയ്ക്കുന്നത്. ആക്ഷൻ സീനുകളിലെ ലക്ഷ്മി മാഞ്ചുവിന്റെ പ്രകടനവും എടുത്തു പറയണം. ലെന, സിദ്ദിഖ്, ഗണേഷ് കുമാര്‍, കൈലാസ്, ഇടവേള ബാബു, ബിജു പപ്പൻ, സാധിക, അഞ്ജലി നായർ എന്നിവരാണ് ചിത്രത്തിലെ മറ്റു പ്രധാന അഭിനേതാക്കൾ.

എട്ടു മാസങ്ങൾക്കു ശേഷം നേരിട്ട് തിയേറ്ററുകളിൽ എത്തുന്ന മോഹൻലാൽ ചിത്രം കൂടിയാണ് മോൺസ്റ്റർ. പ്രേക്ഷകർക്ക് പെട്ടെന്ന് പിടി കിട്ടാത്ത രീതിയിലാണ് ഉദയ്‌കൃഷ്ണ തിരക്കഥയെ കൊണ്ടു പോവുന്നത്. ജിജ്ഞാസയുണ്ടാക്കുന്ന കഥാസന്ദർഭങ്ങളും ട്വിസ്റ്റുകളും നിരവധി ചോദ്യങ്ങളും ബാക്കി വച്ചാണ് കഥ പുരോഗമിക്കുന്നതും. ബോറടിപ്പിക്കാതെ ക്ലൈമാക്സ് വരെ കൂടെ നടത്തിക്കുക എന്ന ഉദ്യമത്തിൽ 'മോൺസ്റ്റർ' വിജയിച്ചിട്ടുണ്ട്.

'പുലിമുരുകനു' ശേഷം വൈശാഖ്- ഉദയ്‌കൃഷ്ണ- മോഹൻലാൽ ടീം വീണ്ടും കൈകോർത്തിരിക്കുകയാണ് 'മോൺസ്റ്ററി'ൽ. 'പുലിമുരുകനിൽ' നിന്നും 'മോൺസ്റ്ററി'ലേക്ക് എത്തുമ്പോൾ സ്ത്രീവിരുദ്ധ ജോക്കുകൾ, ദ്വയാർത്ഥ പ്രയോഗങ്ങൾ എന്നിവയൊക്കെ താരതമ്യേന ചിത്രത്തിൽ കുറവാണ് താനും. എന്നിരുന്നാലും, ട്രീറ്റ്‌മെന്റിലും സമീപനങ്ങളിലുമൊക്കെ ചില അപകടങ്ങളും കള്ളനാണയങ്ങളും ഒളിഞ്ഞിരിക്കുന്ന ചിത്രം കൂടിയാണ് 'മോൺസ്റ്റർ.'

മലയാള സിനിമ ഇതുവരെ പറയാത്ത രീതിയിൽ ചില വിഷയങ്ങൾ പറയാൻ ശ്രമിക്കുന്ന ചിത്രമെന്ന് അണിയറപ്രവർത്തകർ തന്നെ അവകാശപ്പെടുമ്പോഴും, സെൻസിറ്റീവായ ആ വിഷയങ്ങളെ വളരെ അപക്വമായാണ് സമീപിച്ചിരിക്കുന്നത് എന്ന് പറയാതെ വയ്യ. കഥയിൽ പുതുമ കൊണ്ടു വരാനായി മാത്രം എൽജിബിടിക്യു സമൂഹവുമായി ബന്ധപ്പെട്ട ഉള്ളടക്കത്തെ ഉപയോഗിക്കുന്ന രീതിയോട് എത്ര മേൽ യോജിക്കാനാവും? ചിത്രത്തിന്റെ നിർണായക മുഹൂർത്തങ്ങളുമായി ബന്ധപ്പെട്ട ചില കാര്യങ്ങളാണെങ്കിലും ഈ പ്രശ്നബാധിത സമീപനം കണ്ടില്ലെന്നു നടിക്കാനാവില്ല. 'മോൺസ്റ്റർ' ഉപരിപ്ലവമായി സ്പർശിച്ചു പോവുന്ന ആ വിഷയങ്ങൾ, അതിലുമേറെ ഗൗരവപരവും മനുഷ്യത്വപരവുമായ സമീപനം ആവശ്യപ്പെടുന്നതാണ് എന്നതിൽ സംശയമില്ല.

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Monster Movie Review: Crude, crass, energy-draining beast

Rating: ( 0.5 / 5)

There have been only a few occasions when I felt sorry for myself while sitting inside a movie theatre, and they all happened after I started a career in film journalism. When not writing about films, there is the option of avoiding them -- and safeguarding your mental health in the process; unfortunately, that's become near impossible now.

Director: Vysakh Cast: Mohanlal, Honey Rose, Lakshmi Manchu, Lena

There was a time when the terrible films of Mammootty and Mohanlal tormented me. Lately, though, the former seems to have grown more sensible with regard to his script choices. On the other hand, the latter seems to be going in the opposite direction, and he doesn't seem to care -- except when asking reviewers to learn about filmmaking before talking ill of a film? My question is this: If someone is so passionate about filmmaking or good cinema, why agree to do films like Monster , Aaraattu , Big Brother , and Neerali ?

Just when I thought things couldn't get any worse than Aaraattu , here comes Monster , a creation of the same writer, Udayakrishna. I paused to reflect on which of the two is the worst, and my answer has to be Monster . I would've said Aaraattu considering it's longer than Monster , but the latter managed to inflict as much pain despite its relatively shorter runtime. And since I end up exhausted by the end of one of these films, it's also become quite a challenge to expend whatever energy I have left to write about it. I'll try.

Before the release of Monster , there were speculations about it containing zombies and vampires. There is no such thing. I don't know who started that rumour. Perhaps the makers themselves did it through one of their clandestine promotion teams -- you know, to create hype through negative publicity because that's actually a thing. That said, the film exhibits the traits of a vampire in that it sucks your energy instead of blood. I would've included the actors, too, but then I remembered that actors only do what the writer and director tell them to do.

Let me start with Mohanlal's 'Lucky Singh', yet another over-the-top investigator-in-disguise who feels like an extension of his character in the recent 12th Man . Of course, one can see that it's deliberate, but just because a character has to assume a different identity to mislead others, it doesn't mean we should endure everything thrown at us. In 12th Man , Jeethu Joseph was smart enough not to stretch the 'drunken guy' act beyond what was necessary. In Monster , however, Lucky Singh isn't a drunk, but he puts on the garb of an annoying chatterbox who makes every woman he meets uncomfortable. Let's remember that Mohanlal once did a wonderfully entertaining undercover movie called Olympian Antony Adam , where he got the job done without going overboard. Where did today's makers suddenly get the idea that the lamest of dialogues and jokes can entertain audiences? Don't they see that it's no longer working?

For some odd reason, writer Udayakrishna seems to think he is being clever by having Lucky Singh behave like he is participating in a wordplay competition. The effect is more annoying than astonishing. The early developments take a long time to simmer -- imagine an extreme version of that wallpaper scene from TP Balagopalan MA Only here, Lucky Singh isn't selling wallpapers, only his false identity.

I should admit the pre-interval development was a nice touch; it's effective at piquing one's curiosity. But everything starts to go haywire post-interval when more characters enter the picture, most of them faces you'd recognise in an AMMA event photograph. It gets to a point where you start wondering whether things got even more ridiculous when these characters started acting all 'serious' or when they used to be silly. There is a scene where Mohanlal is briefing his khaki-clad colleagues, who sport an expression that seems to say they are already aware of how ludicrous the entire script is but are somehow trying so hard to look serious. Looking at their 'attentive' faces, one would think Lucky Singh is telling them about some Illuminati conspiracy. And what about Lucky Singh showing up in a motorcade of black Mercedez Benzes flanked by sub-ordinates who look like they just got back after filming an Indian remake of Men in Black ?

The atrocity attains its zenith when we learn the identity of the serial killers. One gets the feeling the makers have something against a particular community. In the pursuit of doing something 'different', the makers conjure a background story for the killers that is as unconvincing as it is insensitive.  The writing is crass and devoid of grace that it leaves a sour aftertaste. Why make them look like stock villains? Was there no space for nuance or layers? Why ask them to talk and pose in a stereotypical way? What's with the amateurish music video-style visualisation?

Also, why name the film Monster ? Yes, we get a mention of it through Lucky Singh's closing dialogue, but it is as senseless as everything else in the movie. There was a mention of 'monster' in Aaraattu too, and I don't get the obsession. Is there a UCU (Udayakrishna Cinematic Universe) in the making? I shudder at the thought.

In a pre-release promo video, Mohanlal said the film's screenplay is both hero and villain. Well, having seen the movie, I can say I understood half of it.

Monster (III) (2022)

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Monster Movie Review (2022)

Vysakh's 'monster', with mohanlal and honey rose, is a pulpy thriller that entertains until it starts to explain itself.

Monster Movie Cast & Crew

I'll begin by saying that Vysakh's Monster is not a "tasteful" film. It's a film for those with an appetite for trashy pulp fiction, where you keep turning the pages feverishly in order to find out who the bad guy is. Mohanlal plays a turbaned man named Lucky Singh, a Malayali settled in Punjab, and the minute he says " soni kudi ", you know this is not something you take seriously. Short of shaking his shoulders to shouts of balle balle , Mohanlal plays not a character but a caricature. This, I think, is intentional. The man is a total pile-on, a total pest. We are irritated with his mannerisms. We are unable to bear his larger-than-life way of sucking up all the air in the room. And this mirrors the state of mind Bhamini finds herself in. In short, when Lucky Singh hops into Bhamini's cab and spends the day with her, we find ourselves completely empathising with her annoyance and discomfort.

Honey Rose gives a fantastic performance as Bhamini – and this is something you may realise only after the film. It is her first wedding anniversary and she wants to be home, but Lucky Singh latches on to her like a leech. Watch every single emotion on Honey Rose's face, and then recall them after the climax – you will see how cleverly her character is written and how well the actor performs. Monster opens with Bhamini and her husband (Sudev Nair) who has lost his job. They have a little daughter, and their financial situation is dire. They live on the kindness of others, like the nanny played by Lakshmi Manchu. This nanny continues to work despite not having been paid for months. The only wage-earner in the family is Bhamini, who works for a cab company called She-Taxi. The significance of this name will, again, register later.

The writer, Udaykrishna, keeps building the screenplay with small details. One, Bhamini is an orphan. Two, she is not much of a socialiser – she likes to be with her small family and cherish every small moment. So on and so forth. All of this adds to the character in ways we don't expect – and then, the film begins to pile on the twists. There's a murder. The security guard says he never saw Lucky Singh, so are we in a ghost story? Is all of this happening in Bhamini's head, due to her difficult situation? I laughed at the outrageous plot turns, but I must admit I was also gripped. Monster is utterly unpredictable for the most part. At one point, Mohanlal's body language changes. At another point, Honey Rose's body language changes. We realise a lot of this is being done to fool us, the audience, but I was game for the ride. I love shamelessly pulpy stuff (and this film is exactly that), and I needed to get to the bottom of it all.

But when the explanations begin to arrive, the air leaks out of the narrative. Some of the planning to catch the culprit is really far-fetched – but that part is still okay, it’s still part of how pulp works. It's the big fight at the end and the hurried depiction of a relationship that leaves a really bad taste as you walk out of the theatre. In principle, I am not against people being portrayed in a certain way. We are inside fiction, and we have to understand that the sensitivity we have in real life might be sacrificed for the sake of thrills. But this last section is so sudden and so out of a Chinese martial arts movie that you lose any sympathy the film is trying to create in order to justify the murders. The characters become caricatures, very much like Lucky Singh. If that had been addressed, this enjoyable film might have become a moving film as well.

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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ലൈസൻസ് ടു ത്രിൽ; മോൺസ്റ്റർ റിവ്യു

Published: October 21 , 2022 02:24 PM IST

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അനിലും ഭാമിനിയും മകൾ കുഞ്ഞാറ്റയും അടങ്ങുന്ന ‘സന്തുഷ്ടമായ’ വീട്ടിലേക്ക് ഒരുദിവസം സാഹചര്യവശാൽ ഒരു സിങ് അതിഥിയായി (വലിഞ്ഞുകയറി) വരുന്നു. ആദ്യം ഇഷ്ടക്കേടുണ്ടായെങ്കിലും പിന്നീട് അയാളുടെ സാന്നിധ്യം അവർ ഇഷ്ടപ്പെട്ടുതുടങ്ങുന്ന നിമിഷം, കഥയുടെ ട്രാക്ക് മാറുന്നു. കാണുന്നതെല്ലാം സത്യമാകണമെന്നില്ല എന്ന് പ്രേക്ഷകൻ തിരിച്ചറിയുന്നു. സത്യത്തിൽ ആരാണ് ലക്കി സിങ്? അയാൾക്ക് മറ്റെന്തെങ്കിലും ഗൂഢോദ്ദേശ്യമുണ്ടോ?...

ഫീൽ ഗുഡ് തീമിൽ പോകുന്ന ആദ്യപകുതി, ത്രില്ലർ ട്രാക്കിലേക്ക് ഗിയർ മാറ്റുന്ന ഇടവേള, ഇനിയെന്ത് എന്ന ചങ്കിടിപ്പ് കൂട്ടുന്ന പ്രവചനാതീതമായ രണ്ടാംപകുതി, അമ്പരപ്പിക്കുന്ന ട്വിസ്റ്റുകളുമായി ക്ലൈമാക്സ്!... ഇതാണ് മോൺസ്റ്റർ എന്ന സിനിമ.

ബ്ലോക്ബസ്റ്റർ പുലിമുരുകനു ശേഷം ഹിറ്റ് മേക്കർ വൈശാഖും ഉദയകൃഷ്ണയും മോഹൻലാലും ഒരുമിക്കുമ്പോൾ വീണ്ടും പ്രേക്ഷകരുടെ പൾസറിഞ്ഞ ഒരു മാസ് ലാൽ സിനിമയാണ് യാഥാർഥ്യമായിരിക്കുന്നത്. ഇൻവെസ്റ്റിഗേറ്റീവ് ക്രൈം ത്രില്ലറായ ചിത്രത്തിന്റെ ഏറ്റവും വലിയ ഹൈലൈറ്റ് മറ്റൊന്നാണ്. അതാദ്യമേ പറയാം. കമേഴ്‌സ്യൽ മലയാളസിനിമാസംവിധായകർ തൊടാൻ മടിച്ച ഒരു വിഷയത്തെ അതിന്റെ തീവ്രതയിൽ ആവിഷ്കരിച്ചിരിക്കുകയാണ് രണ്ടാംപകുതിയിൽ. ഒരുപക്ഷേ അടുത്തിടെയൊന്നും മലയാളസിനിമയിൽ ഇത്ര ചടുലമായി, ഇത്രയും ദൈർഘ്യത്തിൽ ഒരു സസ്പെൻസ് റിവീലിങ് സീൻ വന്നിട്ടുണ്ടാവില്ല. എണ്ണം പറഞ്ഞ ചില മുഹൂർത്തങ്ങൾ, അതിന് ഹരം പകരുന്ന ദീപക് ദേവിന്റെ ചടുലമായ സംഗീതം. സ്പോയിലർ ആകുമെന്നതിനാൽ അതിലേക്ക് കടക്കുന്നില്ല. ഒരുപക്ഷേ ചിത്രത്തിന് അധികം പ്രൊമോഷനുകളോ ഇന്റർവ്യൂകളോ നൽകാതിരുന്നതും പ്രേക്ഷകന് തിയറ്ററിൽ ലഭിക്കുന്ന ഈ സസ്പെൻസ് കിക്ക് നിലനിർത്താനായിരിക്കും.

വൈശാഖിന്‍റെ സംവിധായക മികവിനോടൊപ്പം ഉദയകൃഷ്ണയുടെ ബ്രില്യന്‍റ് സ്ക്രിപ്റ്റും സിനിമയുടെ പ്ലസാണ്. ഒരു കമേഴ്‌സ്യൽ മാസ് സിനിമയ്ക്ക് വേണ്ട ചേരുവകളെല്ലാം സിനിമയിലുണ്ട്. എന്നാൽ ഇതുവരെ മലയാളത്തിൽ അധികം ചര്‍ച്ച ചെയ്യാത്ത ചിന്തയാണ് മോൺസ്റ്ററിനെ വേറിട്ടു നിർത്തുന്നത്.. മോഹൻലാലിനോടൊപ്പം ഹണി റോസും പ്രധാനവേഷം കൈകാര്യം ചെയ്തിരിക്കുന്നു. ലക്ഷ്മി മഞ്ജു, സിദ്ദീഖ്, ഗണേഷ് കുമാര്‍, സുദേവ് നായ‍ർ, ലെന, ജോണി ആന്റണി, കോട്ടയം രമേശ്, കൈലാഷ്, ഇടവേള ബാബു, സാധിക വേണുഗോപാൽ തുടങ്ങിയവരാണ് മറ്റ് പ്രധാന അഭിനേതാക്കൾ.

ദുരൂഹമായ അടരുകളുള്ള സര്‍ദാര്‍ വേഷം മോഹൻലാൽ അവിസ്മരണീയമാക്കുന്നു. തലയിൽ ടർബനണിഞ്ഞുള്ള വേറിട്ട വേഷപ്പകർച്ചയിലൂടെയും കണ്ണിൽ മിന്നിമായുന്ന കുസൃതികളിലൂടെയും മോഹൻലാൽ ആദ്യപകുതിയിൽ പ്രേക്ഷകരെ കയ്യിലെടുക്കുന്നു.

ചിത്രത്തിലെ വില്ലൻ വേഷങ്ങൾ കൈകാര്യം ചെയ്തവരെ കുറിച്ചും പറയാതിരിക്കാനാകില്ല. ഇത്തരമൊരു കഥാപാത്രത്തെ അവതരിപ്പിക്കാൻ ആ അഭിനേതാക്കൾ കാണിച്ച ധൈര്യത്തെ അഭിനന്ദിക്കാതിരിക്കാനാകില്ല. നാല് പതിറ്റാണ്ടിലേറെ നീണ്ട അഭിനയ ജീവിതത്തിൽ ആദ്യമായാകും മോഹൻലാൽ എന്ന താരം ഇങ്ങനെയൊരു എതിരാളിയെ സിനിമയിൽ നേരിട്ടിട്ടുണ്ടാവുക. ഹണി റോസിന്‍റെ ഭാമിനി എന്ന കഥാപാത്രവും ശക്തമാണ്. നടി ലക്ഷ്മി മഞ്ജു മലയാളത്തിലെ അരങ്ങേറ്റം മോശമാക്കിയില്ല. മികച്ച സിനിമകൾ ലഭിച്ചാൽ കത്തിക്കയറാനുള്ള കനൽ ഉണ്ടെന്ന് ഹണിയെപ്പോലെ ലക്ഷ്മിയും തെളിയിച്ചിട്ടുണ്ട്. മറ്റ് അഭിനേതാക്കൾ എല്ലാം തങ്ങളുടെ വേഷങ്ങൾ മനോഹരമാക്കിയിട്ടുണ്ട്.

ചിത്രത്തിന്റെ സാങ്കേതിക മേഖലകൾ മികവ് പുലർത്തുന്നു. സംവിധായകന്റെ ചില ബ്രില്യൻസുകളും ചിത്രത്തിൽ കാണാം. പ്രേക്ഷകർ ലാഘവത്തോടെ വിടുന്ന ഓപ്പണിങ് ക്രെഡിറ്റ് സീനുകളിൽപ്പോലും സിനിമയുടെ സസ്പെൻസിലേക്ക് വഴിതെളിക്കുന്ന സൂചകങ്ങൾ നൽകിയിട്ടുണ്ട്. അതിനാൽ ആദ്യം മുതൽ ശ്രദ്ധിച്ച് സിനിമകാണുക.

ചിത്രത്തിൽ ഗാനങ്ങൾക്ക് വളരെ പ്രാധാന്യമുണ്ട്. കഥയുടെ സാരം ചുരുളഴിയുന്നതുപോലും ഒരു ഗാനത്തിന്റെ അകമ്പടിയോടെയാണ്. ദീപക് ദേവ് ഈണമേകിയ ഗാനങ്ങളും പശ്ചാത്തല സംഗീതവും സതീഷ് കുറുപ്പിന്‍റെ ഛായാഗ്രഹണവും ഷമീര്‍ മുഹമ്മദിന്‍റെ എഡിറ്റിങ്ങും സ്റ്റണ്ട് സിൽവയുടെ സംഘട്ടനവും ചിത്രത്തെ കൂടുതൽ ആസ്വാദ്യകരമാക്കി.

ചുരുക്കത്തിൽ, കൊച്ചിയിൽ ഫ്ലാറ്റ് വിൽക്കാനെത്തിയ ലക്കി സിങ് മടങ്ങുന്നത് പ്രേക്ഷകരുടെ നെഞ്ചിടിപ്പിന്റെ താളം ഉയർത്തിക്കൊണ്ടാണ്. തീര്‍ത്തും തിയറ്റർ മസ്റ്റ് വാച്ചാണ് ചിത്രം.

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Monster Movie Review: Stay away from the film unless you are an ardent Mohanlal fan

Monster, mohanlal’s new film, is a middling thriller that fails to do justice to a bold premise. it, however, caters to those who want to watch the veteran trying something new on the big screen..

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• Monster features Mohanlal, Lakshmi Manchu, and Honey Rose.
• The film opened in theatres on October 21.
• Monster is directed by Vysakh.

Release Date: 21 Oct, 2022

In 2015, Mohanlal headlined Loham, one of the most talked about films of the year. While the Ranjith-directed thriller had an intriguing premise, it ended up being a missed opportunity as the screenplay featured one twist too many. Lalettan’s latest release Monster, which opened in theatres on October 21, brings back memories of that disappointing experience. The Vysakh-directed film, however, fares a bit better than Loham, mainly because of its stylish presentation and slick action scenes.

Monster revolves around Lucky Singh, a ‘Punjabi Malayali’ man, who arrives in Kerala to deal with certain personal and professional commitments. He tries to form a bond with Bhamini (Honey Rose), a She-Taxi driver/operator and invites himself to her wedding anniversary celebrations. It soon becomes clear that Lucky Singh is not who he claims to be. This sets the stage for a few revelations and confrontations.

The basic storyline has tremendous potential. It initially uses the tried-and-tested ‘simple guy with secret’ formula, which has previously been employed quite effectively in films such as Vedalam and Baashha, to take the narrative forward. Monster, however, fails to make the desired impact as the screenplay, written by Udaykrishna, is quite lacklustre.

The film begins with a series of sequences that introduce us to Bhamini and her family. While these scenes don’t offer anything remotely special, they set the stage for Mohanlal’s entry. Lalettan single-handedly carried the first half with his lively performance. The scenes revolving around his attempts at wooing Bhamini are quite enjoyable and work because of the effective comic timing. His scenes with the child artist Jess Sweejan, too have come out quite well. The first half does a good job of building a sense of mystery around Lucky Singh. It also ends on a thrilling note, giving the audience a solid reason to look forward to the second half.

The film sadly falls apart after the interval. The second plays out like an investigative thriller, at least for the most part. The interrogation scenes feel rushed. They lack the type of intensity that was seen in similar sequences in Drishyam. A series of twists in quick succession too don’t really help Monster. The film, however, tries to redeem itself by touching upon a sensitive issue towards the end. That said, it needed to be explored in a more in-depth manner.

The action sequences have been filmed quite stylishly. They should appeal to those who liked the ones featured in Vysakh’s 2019 actioner Madhura Raja. These scenes are, either way, much more convincing than the ones featured in the forgettable Laila O Laila.

Coming to the performances, Mohanlal is the heart and soul of Monster. Lucky Singh could so easily have been reduced to a caricature. This, fortunately, doesn’t happen as Lalettan brings his quirky antics to life on the big screen without being too over-the-top.

Honey Rose is burdened with a one-dimensional character. She deserved better. Lakshmi Manchu makes her presence felt despite the limited screen time. Her intense body language helps her do justice to a key action scene. The likes of Sudev Nair, Siddique and KB. Ganesh Kumar are decent in small supporting roles.

Satheesh Kurup’s cinematography is one of the strong points of Monster. It gives the film a distinctly rich look and feel. The Ghoom Ghoom track, composed by Deepak Dev, isn’t a particularly catchy one. It, however, blends with the narrative.

To conclude, Monster isn’t really Mohanlal's best work by any stretch of the imagination. It, however, may have just about enough to satisfy the veteran star’s ardent fans.

We are going with 2.5 stars out of 5 for Monster. Published By: Anindita Mukhopadhyay Published On: Oct 22, 2022 --- ENDS ---

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Monster movie review: Mohanlal’s cringey acting as a Sikh rivals the script’s creepy homophobia

Mohanlal hams to embarrassing levels as the team of Monster tries to camouflage their closeted conservatism by pretending to care about LGBT-plus rights

Language: Malayalam with some Hindi and Punjabi  

Cast: Mohanlal, Honey Rose, Sudev Nair, Lakshmi Manchu, Leena, K.B. Ganeshkumar, Siddique, Johny Antony       

Director: Vysakh

Star rating: 0.25/5

Sikhs, Punjabis and homosexuals are not viewed as people by the team of Monster . Instead, they’re seen as gimmicks, tools to build suspense and write grand reveals in a crime drama.

Full marks to director Vysakh and writer Uday Krishna for being consistent in this new Malayalam film – consistently cringeworthy.

Monster begins with a women-drivers-only taxi service sending Bhamini (Honey Rose) to ferry a client named Lucky Singh ( Mohanlal ) around Kochi. When they meet, she is put off by his over-familiarity. Almost as off-putting as Lucky’s flirtatious, creepy conduct with a woman young enough to be his child and a stranger mistaking her for his wife, is the veteran actor hamming his way through the role of a Sikh and pretending to be a natural Punjabi speaker though his awkwardness with the language is glaring. Lalettan in Monster sprinkling Punjabi and Hindi in his conversations with Malayalis in Kerala who do not know either is as ridiculous as Suresh Gopi ’s character in the recent Mei Hoom Moosa peppering his sentences with Hindi in a village in the state. It is contrived, unrealistic and truly silly.

Next in Monster , an alleged crime occurs, a probe follows and fugitives are apprehended.

After a terrible first half, there is for a short while in the second half some excitement generated about the possible identity of the various parties involved and the motivations of the criminals, but no aspect of Monster is so effective as to overshadow its unfailingly superficial script, generic treatment, crudeness, clumsy dialogues and Mohanlal’s self-conscious acting.

At one point, Monster decides to bat for LGBT-plus rights. It should have spared the world the effort because, as we learn from watching this film, a closet homophobe faking progressiveness can be worse than open homophobia.

The characterisation of the homosexual individuals in Monster and the awful acting are both geared to fit prevailing prejudices. The writer is confused, misinformed and ignorant about laws regarding marriage and same-gender relationships in India. He compounds this grievous laxness towards his theme with an apparent cluelessness about the difference between legal sanction and social acceptance. Certain characters spout lines that are purportedly considerate towards homosexuality, yet their vocabulary is never free of an us-vs-them mentality.

Certain aspects of Monster reminded me of a horrendous Hindi film called Girlfriend released in 2004 in which the lead was a murderous, kickboxing, mobike-riding lesbian who – to top off the stereotypes – chopped her long hair part way through the narrative, and in the end was revealed to be (wait for it!) Christian. The saving grace in that episode was that Girlfriend ’s writer-director Karan Razdan was a marginal player who never made it big in films, just like its stars Isha Koppikkar, Amrita Arora and Aashish Chaudhary. It is a matter of shame that Vysakh, in contrast, is the hugely successful maker of the blockbusters Pokkiri Raja and Pulimurugan , Uday Krishna is his equally successful, long-time collaborator, and Mohanlal, as one of the foremost names in Malayalam cinema history, is clearly not struggling to get offers. What then is this trio’s excuse for creating a film as horrifically regressive as Monster ?

One of the heartening facets of contemporary Malayalam cinema has been the normalisation of Kerala’s religious minorities. This month though has been a sad reminder that Malayalam filmmakers are not free of bigotry and play-it-safe trickery. Exhibit A: the Islamophobia in Mei Hoom Moosa . Exhibit B: a homophobic filmmaker pointedly identifying the homosexuals in Monster as Christian, thus protecting himself from the anger of majoritarian elements in the audience in a largely anti-LGBT society. In doing this, Vysakh follows in the footsteps of not just the obscure Girlfriend , but also Pan Nalin’s much-acclaimed Hindi-English film Angry Indian Goddesses (2015).

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens – bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room – in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a “Western concept”, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline.

In its choice of title, Monster mirrors the likes of the Tamil thriller Ratsasan (Demon / 2018), which villainised a man who, in fact, deserved audience empathy for the oppression he had faced all his life. “It takes a monster to destroy a monster,” says the trailer of Vysakh’s film, while aiming its fire at people whose unlawful activities were born of the extreme persecution they had suffered. In case you don’t get the point, in the end the supposed good guy in Monster makes a statement to this effect: “It is not the circumstances of the criminal but justice for the victim that is the responsibility of law enforcers.” I guess we can safely conclude what his stand would have been if he was a character in Victor Hugo’s French classic Les Miserables and witnessed a poor man stealing bread for a starving family. The lack of nuance, sensitivity and basic humanity in Monster is staggering.

Rating: 0.25 (out of 5 stars)  

This review was first published in October 2022 when Monster was released in theatres. The film is now streaming on Disney+Hotstar.

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

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Monster (U/A) 21/Oct/2022 Action, Thriller 2hrs 15mins

Critics Review

Mohanlal's cringey acting as a sikh rivals the script's creepy homophobia.

The stereotyping of LGBT-plus persons in Monster is unrelenting. A lesbian couple are filmed through an unapologetically lascivious lens � bosoms heaving as they hungrily tear into each other with their eyes before their bodies collide with an animal fervour, unmindful of the company in the room � in a scene evidently designed to cater to a common cis-heterosexual male fantasy of watching women make love to each other. In a country where conservatives often describe homosexuality as a �Western concept�, Monster even has an English song playing in the background while summarising a same-gender romance in the storyline. (more)

Source: Anna, Firstpost.com

A homophobic failure

The film is all about a monster who has the choice to use the trust of his fans to take up the Malayalam cinema or to bring it down. Well, do fans and films need any logic? (more)

Source: TOI, Times Of India

This Mohanlal film is outright offensive

It�s time Mohanlal stops signing every film that comes to his reading table. Instead, he has to pick the projects that honour his formidable body of work spanning over four decades. This is not the movie for a versatile actor who has given us Iruvar, Kireedam and Drishyam. This is a film for amateurs and is not meant to be performed by a cinema giant. (more)

Source: Manoj Kumar, Indian Express

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Monster Malayalam Movie

Monster is a 2022 Indian movie directed by Vysakh starring Mohanlal, Honey Rose, Lakshmi Manchu and Johny Antony. The feature film is produced by Antony Perumbavoor and the music composed by Deepak Dev.

Director: Vysakh Producer: Antony Perumbavoor Production Company: Aashirvad Cinemas Music Director: Deepak Dev Song Lyrics Writer: Dr Madhu Vasudevan Cinematographer: Satheesh Kurup Editor: Shameer Muhammed Art Designer: Shajie Naduvil Original Story Writer: Uday Krishna Action Choregrapher: Stunt Silva

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

• What is the release date of 'Monster'? Release date of Mohanlal and Siddique starrer 'Monster' is 2022-10-21.
• Who are the actors in 'Monster'? 'Monster' star cast includes Mohanlal, Siddique, Honey Rose and Ganesh Kumar.
• Who is the director of 'Monster'? 'Monster' is directed by Vysakh.
• Who is the producer of 'Monster'? 'Monster' is produced by Antony Perumbavoor.
• What is Genre of 'Monster'? 'Monster' belongs to 'Action,Adventure,Thriller' genre.
• In Which Languages is 'Monster' releasing? 'Monster' is releasing in Malayalam.

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Frequently Asked Questions (FAQs) About Monster

In this Monster film, Mohanlal , Lakshmi Manchu played the primary leads.

The Monster was released in theaters on 21 Oct 2022.

The Monster was directed by Vysakh

Movies like Bougainvillea , Cup , CIBIL Score and others in a similar vein had the same genre but quite different stories.

The Monster had a runtime of 134 minutes.

The soundtracks and background music were composed by Deepak Dev for the movie Monster.

The cinematography for Monster was shot by Satheesh Kurup .

The movie Monster belonged to the Drama, genre.

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