uncle malayalam movie review

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Mammootty’s Uncle is an engaging tale that mirrors the thoughts of society about the relationship between a man and a woman.

Uncle Movie Review

• Times of India

Uncle - Official Teaser

Uncle - Official Trailer

Uncle | Song - Eeran Marum

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Uncle, decent attempt but don't preach | Film review

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In debutant filmmaker Girish Damodar's Uncle, Joy Mathew, the screen writer, explores a theme he had handled with elan in his critically acclaimed directorial venture 'Shutter' -- the social hypocrisy and moral policing tagged to the Malayali psyche.

The Mammootty-starrer, in the mould of a road movie of sorts, is a decent attempt to portray the fears of a couple with a grown-up daughter. It also tries to paint in detail a deep-rooted perverted mentality that has victimized many in a state that boasts of a high level of literacy.

However, a penchant to be preachy plays the spoilsport by the end of the film as it attempts to proclaim its intentions. It also ends up being melodramatic with long-winding dialogues in the final scenes, in a sudden shift of the tone and texture of the narrative.

Uncle has an interesting plot that is unravelled through a journey from Ooty to Kozhikode. The journey gets intriguing as Krishnakumar (Mammootty) and his friend Vijayan's daughter Sruthi (Karthika Muralidharan) drive through the thick and dark forest separating the two states. The uncertainty regarding the intentions of Krishnakumar, a businessman of various shades, keeps Vijayan (Joy Mathew) tense and the audience stuck to the narrative.

Repetitive sequences, especially the endless phone calls between the characters, and the subplot involving a youth and his wife in the early stages of labour gives the film some unnecessary length.

The film comes as a solace for those who have been seeing Mammootty in typical macho roles. The character of Krishnakumar gives ample scope for the actor to perform. Karthika Muralidharan, Joy Mathew and Muthumani perform equally well, imbibing the nuances of the characters they play.

Almost all the characters in the film have shades of being typecast -- the helpful communist, innocent Adivasi, insensitive cop and a powerful Kannur woman.

A folk number crooned by Mammootty, as part of a booze party in the film, is a treat. But the other song, despite being melodious, only adds up to the staggering length of the film.

Rating: 3 / 5

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Uncle (2018) Malayalam Movie Review – Veeyen

There is a final tornado that Sruthy’s mom rakes up at a police station in ‘Uncle’ that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.

It’s a minuscule idea that writer Joy Mathew builds on for Girish Damodar’s film ‘Uncle’; one that would ideally have made a gleaming tiny short film. Damodar’s film, on the contrary, runs for an inordinate,  near to two and a half hours, the first couple of which are sumptuously spent on crafting an elaborate backdrop for what is to follow, which is very little.

Sruthi (Karthika Muraleedharan), on a strike day in Tamil Nadu, is offered a ride back home to Calicut, by Krishnakumar aka KK (Mammootty), her dad’s best friend. She hops into his car without much of a thought, much to the chagrin of her dad Vijayan (Joy Mathew), who has known KK from close quarters and has a fairly good idea as to what an infamous womaniser, the man is and could be.

It’s a long, unwinding ride indeed, and the narrative keeps shifting between casual, mostly hollow conversations between the man and the girl in the car, and the emotional strain that literally drains the senses out of Vijayan, as he sits in wait. Oblivious of KK’s true self, Sruthi’s mother (Muthumani) gets busy setting the dinner plates.

Joy Mathew plays the safe cards this time around, which is blatantly obvious in his characterization – that brings in a namesake representative from all possible sects of the society around. There is an elderly woman (KPAC Lalitha) who is waiting for her daughter in law to deliver a baby and the lady next door who seems a bit too eager to cook some chicken, who complete the cautiously painted social portrait.

‘Uncle’ tries hard to leave you distrustful and apprehensive of KK’s intent, but for the discerning viewer, it’s all clear as a sunny day. KK glances at the girl through the corner of his eyes, bends over to buckle up her seat belts and murmurs in a seductive voice that her complexion is that of wild straw berries. Yet, the sort of man that uncle truly is, slips right through the actor’s fingers, leaving the character as obvious as he can possibly be.

The final fifteen minutes of the film is where it decides to buckle up and it does so, by going for a theme that has been brilliantly explored in many a short film. The perpetrators of the crime do not belong to any faction, insists the film, and instead they are all one and the same. The camera turns towards a few specific caricatures in the crowd, all made up with explicit pointers, and thereby ensures that none is spared and that nobody is hurt.

Damodar’s film is no ‘American Beauty’, and there is no Kevin Spacey in sight. Not that you want Mammootty to be Spacey either. Perhaps the actor hasn’t looked this debonair in any other film in recent times, and looks stunningly handsome, sporting a beard and a hairdo with liberal streaks of grey hair. Yet there is an awkwardness that surrounds his entire performance and a visible discomfiture in his feat that leaves you dumbfounded. It’s almost as if the ages of good will that he has painstakingly built up – on and off screen – stands tall between him and his portrayal of a mysterious man who could possibly be a monster, rendering it detached, and in many ways, even an anxious one.

On the contrary, Karthika Muraleedharan gets all snug playing the vivacious teenager. She does look like she could have sought some serious assistance from a costume designer though, and is extremely limited by her stiff attire. Joy Mathew is his usual self while Muthumani, with a restrained, yet resourceful performance, emerges the scene stealer in the film.

There is a final tornado that Sruthy’s mom rakes up at a police station that makes you wish the rest of the film had half the vigour that this closing scene has. The social undercurrents are laid bare, the message is served, the speeches are done and the obligatory slap delivered. Inflated to the point of having swelled beyond recognition, ‘Uncle’ could have been the riveting film that it had aspired to be, in less than half its current screen time.

Verdict: Average

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Uncle movie review highlights: A first half that reflects the attitude of society on men and women

Uncle | Song - Eeran Marum

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Frequently Asked Questions (FAQs) About Uncle

In this Uncle film, Mammootty , Karthika Muralidharan played the primary leads.

The Uncle was released in theaters on 27 Apr 2018.

The Uncle was directed by Girish Damodar

Movies like Level Cross , Written & Directed by God , Lovely and others in a similar vein had the same genre but quite different stories.

The Uncle had a runtime of 145 minutes.

The soundtracks and background music were composed by Biji Bal for the movie Uncle.

The cinematography for Uncle was shot by Azhagappan C .

The movie Uncle belonged to the Drama,Thriller, genre.

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Uncle movie review: Gripping theme dragged down by Mammootty’s misleading performance and other red herrings

When it is at its best, Uncle: My Dad’s Friend is an excellent psychological drama. When it makes needless attempts to manipulate the audience, it robs itself of its potential greatness.

In so many respects, the conception, writing and execution of Uncle: My Dad’s Friend is brilliant. Director Girish Damodar’s film is startlingly honest in the way it grabs men in the audience by the collar and demands that they introspect about their hypocritical attitude towards women – protective of and fearful for the safety of the ones they love; casually disrespectful and lascivious, if not contemptuous towards the rest.

Joy Mathew’s writing is brutally frank in its assessment of ugly notions of masculinity that pervade our society and nurture these double standards. Considering that misogyny is intrinsic to so many contemporary mainstream Malayalam films, especially those headlined by Uncle ’s star, this is a refreshing surprise.

Uncle stumbles repeatedly though by strewing bizarre red herrings around to cause us to make certain assumptions about Krishnakumar, the story’s Uncle played by Mammootty.

In the opening shots, as the credits roll, a violent mob vandalises property in a picturesque hill town. Soon, we see Shruthi (Karthika Muralidharan) standing on the street with a backpack. She is waiting for transport, perhaps a bus, and we can sense her unease when men sidle up to her with questions.

Already the air is thick with foreboding. Already as an audience member, I am worried for her. As a woman, I am doubly distressed, because I have been there a zillion times. The manner in which Damodar conjures up these feelings in just seconds is remarkable.

A car stops. The heart stops. But no, this time it is not a creepy stranger, it is Shruthi’s Dad’s buddy. Krishnakumar Uncle offers to drop her from Ooty where they are to her home in Kozhikode. And so the film’s journey begins.

Most of Uncle ’s running time is spent cutting between Shruthi and Krishnakumar’s road trip through mountainous forest terrain on the one hand, and on the other hand, her parents back home. The mother (Muthumani) feels reassured of her girl’s safety since she knows KK to be her husband’s friend. Yet the husband Vijayan (Joy Mathew himself) appears inexplicably troubled by the news of the company his daughter finds herself in.

We soon figure out why. When the film dwells on him, it also repeatedly cuts to a group of men somewhere nearby, drinking, discussing women loosely, speculating in crude terms about the woman KK is with at that moment.

They are a disgusting lot and those early scenes are designed to other them, giving women viewers a sense of comfort in the conviction that they are not the kind of men we would spend time with – not my husband, my father, my boyfriend, my brother, my pal, not any man I love. Or are they?

(Spoilers ahead)

The mind freezes over when the narrative switches to a flashback and the painful awareness dawns that these are, in fact, men who move among us. Shameer Muhammed’s editing of this portion is so unfussy, the shift so discreetly done, that we do not detect it until we spot Vijayan and Krishnakumar on screen in that same repulsive gang, and Vijayan – gentleman, gentle husband, Shruthi’s darling Daddy – is the one using the most vulgar language to describe KK’s sexual partners, as the men all appear to live vicariously through their bachelor friend’s promiscuous ways and his particular talent for hooking much younger women.

These passages are unnerving because of their everydayness. These men are not killing or raping women, they are not indulging in any form of physical violence, yet their lightly spoken words – reminiscent of the sexist, casteist sport in Sanal Kumar Sashidharan’s Ozhivudivasathe Kali (An Off-Day Game) – mirror the visceral hate harboured by men who do. And they are people like us. They are our husband, father, boyfriend, brother, pal. They are the men we love.

Vijayan cannot tell his wife or child why he distrusts KK, because it will mean revealing a side of himself he has hidden from these women whose love and respect he values.

(Spoiler alert ends)

When it is with Shruthi’s parents and her father’s gang, and in the horrifying realness of a crowd scene later on, Uncle is an extraordinary film. The quality dips when it is on the road with Shruthi and KK though, because that is when we get transparent efforts, too clever by half, to heighten the suspense around their fate.

Shruthi’s achingly youthful innocence, the reactions of people they encounter, Vijayan’s unspoken fears and the audience’s own preconceptions are enough to underline the issues Uncle obviously wishes to highlight: social biases towards single people, the conjectures made about any man and woman seen together unless they are married, and more.

Mammootty’s track record of incessantly romancing female actors young enough to be his daughters and granddaughters in film after film since the 1990s, contributes too to the red flag that goes up as soon as we realise that the Krishnakumar Uncle who stops to give Shruthi a lift is played by him. In that sense, he is an on-point casting choice. Nothing more was required to keep the audience on tenterhooks on her behalf.

Yet in KK’s presence, Uncle tries to be more of a thriller than it needs to be. In its bid to build up our (the audience’s) suspicions of KK, it has him indulging in inappropriate behaviour which it ends up normalising when the denouement guilts us for reacting negatively to him in these parts.

The writing and Mammootty’s acting are both intentionally misleading here. In shots dotting their drive together, we catch KK looking oddly at Shruthi, who is still a minor. He has a decidedly lackadaisical attitude towards the security of this child in his charge, which results in them being out late at night despite her parents’ expressed misgivings and in unsafe places without her parents’ explicit consent. We are also acutely aware of his tendency to invade her personal space when there is no need to do so, such as when he insists on reaching across and buckling her seatbelt for her in spite of her protestations.

Any discomfort audience members may feel towards him here is natural and acceptable. It makes no sense to equate that response with the other condemnable prejudices he faces.

It is hard to understand why Messrs Damodar and Mathew would spoil their film by getting this crucial element so wrong, when they get so much else right in Uncle .

DoP Alagappan N. uses spectacular aerial shots to emphasise the remoteness of the locations where Shruthi finds herself with KK, while at one point he resorts to a distorted close-up of their vehicle’s interior and elsewhere to a fish-eye view of the outside. His camerawork, the understated sound design and Bijibal’s background score are crucial to the ominous air that blankets the film throughout. Even the unnecessary full-length song with Shruthi dancing in the woods fails to kill the mood, though it does act as an irritating distraction. The number in Mammootty’s voice though (the old Entha Johnsa Kallille revived), is well slotted and lots of fun

All the artistes other than Mammootty are exceptional. Young Karthika Muralidharan perfectly conveys guilelessness without consciously trying to be cute, with a confidence undented by the presence of her veteran superstar colleague. Mathew, who has one of the film’s most challenging roles, strikes a flawless balance between Vijayan’s good and awful side. And Muthumani is outstanding in the climax.

In that scene and in the one preceding it, Mammootty metamorphoses into the actor that cinephiles have reason to adore. Shrugging off his trademark swagger, with the screenplay no longer requiring him to pretend to be anything other than what KK is, he gives us a slight droop of the shoulder and a fleeting pain in his eyes that remind us of why he is an acting legend. That we do not see more of that artiste on screen these days is one of the saddest realities of our time.

When it is at its best, Uncle: My Dad’s Friend is an excellent psychological drama bordering on a work of genius. By making needless overt attempts to manipulate the audience though, it robs itself of its potential greatness.

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Uncle Malayalam Movie

Uncle is a 2018 Indian movie directed by Gireesh starring Mammootty, Joy Mathew, Karthika Muralidharan and Suresh Krishna. The feature film is produced by Joy Mathew and Sajai Sebastian and the music composed by Bijibal.

Revolving around a middle-class nuclear family from Kerala, Uncle focuses on the bond that a seventeen-year-old girl sha... Show more

Director: Gireesh Producers: Joy Mathew , Sajai Sebastian Production Company: Abra Films Music Director: Bijibal Background Music Composer: Bijibal Song Lyrics Writer: Rafeeq Ahammed Sound Designer: Renganaath Ravee Cinematographer: Alagappan Editor: Shameer Muhammed Art Designer: Rajeev Kovilakom Screenplay Writer: Joy Mathew Dialogue Writer: Joy Mathew Original Story Writer: Joy Mathew

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Uncle ( U ) 27/Apr/2018 Thriller, Drama 2hrs 24mins

Critics: 7 Panel: 4 User: 12

Overall: 3.5 from 23 users

Synopsis/Plot : Uncle revolves around a nuclear family, stuck in the social and political backdrop of Kerala. It will also look at a girl of seventeen and the bond she shares with her father's best friend, whom she fondly calls Uncle.

Director : Gireesh Damodar

Music Director : Bijibal

Cast More Cast & Crew (10)

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Critics Review

Mammootty is badly miscast in this film.

Uncle would have been gripping as a short film. But, as a feature film, it fails terribly for it only draws our attention in the last 20 minutes. (more)

Source: Manoj Kumar R, Indian Express

Uncle Movie Review

Uncle comes at a time when society is confused and striving to break free from conventions and prejudices. It spreads hope, a commodity that was never needed more than at this point of time. (more)

Source: Anjana George, Times Of India

A Simple Tale With Relevant & Thought-provoking Insights!

Uncle is indeed a quality product creating the necessary impact. The film narrates a simple yet effective tale and the insights offered by the film are infinite, though-provoking and relevant. (more)

Source: Abhijith, One India

Portraying a relevant issue

Girish Damodar, on his debut, appears a promising director, with his well-planned making, eliminating unwanted sequences. The cinematography, editing and background score also deserve due credit. (more)

Source: Gokul, Deccan Chronicle

Gripping theme dragged down by Mammootty's misleading performance and other red herrings

Uncle: My Dad's Friend is an excellent psychological drama bordering on a work of genius. By making needless overt attempts to manipulate the audience though, it robs itself of its potential greatness. (more)

Source: Anna MM Vetticad, Firstpost.com

A terrific performance from Mammootty

Uncle is far from perfect, but is honest and affecting. It�s a delight to watch Mammootty, back in his excellent form. Go for this one! (more)

Source: Moviebuzz, Sify.com

Predictable and flawed

'Uncle' has an important message to deliver, but the script has only enough meat to sustain a short film. (more)

Source: S.R. Praveen, The Hindu

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Malayalam Movie Review Uncle - Cast & Crew

Table of content

Shreya Ghoshal

Muthumani Somasundaran

Karthika Murali

Sajai Sebastian

AD Sreekumar

Bijibal Maniyil

Renganaath Ravee

Shameer Muhammed

Suresh Krishna

Vinay Forrt

Lebison Gopi

1. Shreya Ghoshal

2. Muthumani Somasundaran

3. Karthika Murali

4. Sajai Sebastian

5. AD Sreekumar

6. Joy Mathew

7. Bijibal Maniyil

8. Renganaath Ravee

9. Shameer Muhammed

10. Mammootty

11. Suresh Krishna

12. Vinay Forrt

13. Lebison Gopi

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