Review: Mammootty’s ‘Bheeshma Parvam’ Is an Eminently Watchable Visual Treat

Circa 1988. Michael, the patriarch of the Anjoottikkaran family, is a dreaded figure lording over West Kochi. Michael Anjoottikkaran is a dispenser of justice who would go to any extent to exact retribution or to save his family’s honour. Although Michael is held in high esteem by extended members of his family, he is resented in equal measure by others who are left to take orders from him.

The storyline might be predictable, but Amal Neerad’s latest offering, Bheeshma Parvam, is an eminently watchable film which successfully recreates the Kochi of the past. Most importantly, Bheeshma Parvam is Mammootty’s most watchable film in a while, not least because he plays his age for a change.

The film is Amal Neerad’s ode to Francis Ford Coppola’s Godfather trilogy, and easily trumps Big B, his previous collaboration with Mammootty in 2007.

As you would expect from an Amal Neerad film, the frames are a visual treat; of course, you could quibble with the slow-motion sequences, although that’s once again on expected lines. The writing could have been better, especially with multiple writers chipping in, to make the narrative more gripping.

The film fails to hit an emotional chord with the viewer, papering over such issues only through its styling and a stellar cast. It also helps that the film’s runtime is under 150 minutes.

Mammootty is ably supported by an ensemble cast comprising of Shine Tom Chacko, Sreenath Bhasi, Soubin Shahir, Sudev Nair, Farhan Fazil, Jinu Joseph, Dileesh Pothan, Harish Uthaman, Nadhiya Moidu, Veena Nandakumar, Srinda, Maala Parvathy, Anagha, Anasuya Bharadwaj among others.

Some of the characters could have been better fleshed out but the casting is spot-on apart from Soubin Shahir’s – not due to Soubin’s fault, but only because he simply hasn’t acquired the stature required to pull off such a part, almost reminiscent of Joju George’s turn as Kattalan Porinchu in Porinchu Mariyam Jose (2019), originally meant to be essayed by Biju Menon.

Some of the detailing of the cast, such as the reason attributed to Maala Parvathy perpetually donning dark shades, adds to the style quotient.

Shine Tom Chacko is in fine fettle as usual but Sudev Nair and Farhan Fazil are the surprise packages.

The veteran duo of Nedumudi Venu and KPAC Lalitha, who passed away before the film hit the screens, make an impact in their respective cameos as a menacing couple, making you almost believe that they would finish off Michael in the final sequence – perhaps that was how it was originally conceived.

The film could have been more engaging with some clever writing, but it works nevertheless for the viewers. There’s never a dull moment and you are always anticipating something to happen. The writers fail to build enough tension to make the climax and sequences leading up to it more gripping as in Varathan (2018), for instance, or else the film could have achieved cult status down the line.

Of course, there is room for sequels – or a prequel with Dulquer Salmaan playing the younger Michael Anjoottikkaran a la The Godfather II. In fact there’s a glimpse of the younger Michael in one scene, almost making you wonder if it’s indeed Dulquer or just VFX playing tricks.

For those wondering whether Mammootty’s Michael Anjoottikkaran is reminiscent of Bilal John Kurisinkal, the protagonist of Big B, there is absolutely no connection. In fact, there is far less ‘method acting’ involved here from Mammootty, dialogues and deadpan expressions included.

For anybody who remembers the sleepy town of Kochi from a bygone era, the film would evoke loads of nostalgia. There are references to 13 AD, the legendary Kochi rock band that played at Sealord Hotel in the ‘80s, Varkeys Supermarket, Venduruthi bridge, GCDA apartments and many other symbols from that period – in fact, even the surname ‘Anjoottikkaran’ is clearly such a reference, something only a local Kochiite would understand.

There are imported Toyotas along with Fiats, Ambassadors, Maruti 800s and Contessa that dotted the roads back then – my favorite being the Fiat 1100 D (1964-1966 model) used by Soubin Shahir.

Along with the aesthetic production design, Sushin Shyam’s background score adds to the narrative. The cinematography is top-notch.

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