Thakkol , as the name suggests, is to travel behind the Thakkol without saying a word behind Thakkol . Writer and director Kiran Prabhakaran, who is leaving the theater, understands that the Thakkol is not just opening the Thakkol , but also understanding some people. The film stars Indrajith and Murali Gopi as the central characters and exposes the mystery of the human mind through Christian priests. Those who seem to be cruel in the first place may never be so. This is underscored by the closing words of the film, “Cruel deeds that do good.”
The film is about Monsignor Mankunnath Pailey and Ambrose Vaz, the boy he brings with him as an altar boy. Ambrose, as an altar boy, was still with Monsignor Mankunnath Bailey. Monsignor, who kept Ambrose under his wing, never wanted to set Ambrose free. However, at the recommendation of Clement, who plays Ranji Panicker, the bishop appoints Ambrose as vicar of the parish church where he was born. His father’s decision to deliver to Ambrose was to escape Monsignor’s hand. However, Clement
says he has a false eye for bringing Ambrose to the church and will reveal it upon his arrival. But when it came to the new church, things were not as Ambrose intended. There, waiting for Ambrose Sachsen was a key that was not down. The film is a journey behind it.
Monsignor Mankunnath Pailei plays Murali Gopi and Ambrose plays Indrajith. Both of these characters with a lot of inner sincerity are literally awesome. Each of the actors who entered the film was small but made their characters better. Renji Panicker’s Clement is a different character in his career. Ranji Panicker has been able to improve the character by giving a variety of voices as well as just the sidewalk. Nedumudi Venu, Inia, Roni, and Sudev Nair are the other characters in the film.
There are some great songs in the movie. The music is composed by M Jayachandran. Jayachandran’s background music is what sustains the film’s mood. The main camera of Goa and Kottayam, the film was handled by Albie. The camera reaches out to the characters’ moods rather than visual beauty.
The two-and-a-half-hour-long film takes on a rhythmic rhythm rather than the intensity of the story. So length is often a villain. If the audience is confused about which direction the film is heading until the end of the first half, there is no mistaking it. Shaji Kailas, the director, and producer who brought the film to the forefront of this complex issue, deserves its share of the film as an entertainer. Shaji Kailas Jonar’s name in the role of producer may be the key disappointment to the audience who come to the theater expecting a Shaji Kailas Joner film.