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The significant difference between Madhuraraja and 2016's Kasaba is that in the latter, Mammootty's character himself was the purveyor of the misogyny that dominated the screenplay. Both potshots mirror the extreme resentment against feminism expressed in real life by men of this patriarchal film industry, especially since the formation of Kerala's Women In Cinema Collective in 2017. For good measure, in a passage involving Sunny Leone the film also muddies the waters around #MeToo by implying that willing women whip out the slogan for their convenience. Like Mera Naam Shaji last week, this one too makes a wisecrack about Kerala's vanitha mathal (women's wall), the massive human chain formed by women in the state earlier this year as a symbolic show of solidarity in their fight against discrimination. A man who tries to deceive a young woman into giving him mouth-to-mouth resuscitation is shortly thereafter shown lambasting another man for laying a hand on the same woman - as it is in most commercial Indian cinema of this sort, the message here is clear: that the woman who has been marked out by the screenplay as the property of a hero (or in this case, the second lead played by Jai) is fair game for him but will be protected from others by him. The film features a casual rape joke by Aju Varghese's character, some double entendre and swipes at feminism. This is not to suggest that Madhuraraja's otherwise largely formulaic nature or its stereotypical representation of masculinity is to be excused.Īs is usually the case with Vysakh's work, women here are only sidelights in a man's world. The dogs are hungry for human flesh, and Vysakh mines their ravenousness to terrifying effect. This clichéd method of establishing a male protagonist's supremacy over all he surveys was insufferable in the recent releases Mikhael and Lucifer, but is less painful in Madhuraraja because the megastar and the movie both convey the impression that they are not taking themselves too seriously.īesides, the sequences involving a pack of ferocious canines owned by Nadeshan are so well conceptualised, so slickly shot and edited, that no one would guess Mollywood works with a fraction of the budget available to the average Hollywood film. What helps the film pull through all the same are Mammootty's energy, unabashed enthusiasm for this silly role and comic timing, along with some thrilling, chilling action choreography by Peter Hein.Įvery time Raja enters the scene, the camera goes low and the soundtrack volume goes sky high. Twists and turns follow, but for the most part the plot is not extraordinary. Obviously there is a clash between the saintly old man and the bad guy, and of course this then compels Raja to drop by. Madurai Raja's father, the schoolteacher Madhavan (Nedumudi Venu), is sent to Pambinthuruthu to inquire into a complaint that unruly patrons of a bar owned by Nadeshan are creating havoc with a local school next door. He remains safe from the law though, because of his government and police connections. For about a quarter of a century, Nadeshan (Jagapathi Babu) has caused multiple deaths with the spurious liquor he manufactures. The action here is set on the island of Pambinthuruthu in Kerala, where the criminal businessman VR Nadeshan's writ runs large. The press has been told that Madhuraraja is not a sequel to Pokkiri Raja, but it is.