Latest news with #Premam
Pink Villa
a day ago
- Entertainment
- Pink Villa
Padakkalam OTT Release: When and where to watch Malayalam supernatural comedy movie online
Padakkalam, starring Suraj Venjaramoodu and Sharaf U Dheen, hit the big screens on May 8, 2025. Close to a month since its release, and the movie will be arriving on the streaming platform soon. Here are the details. When and where to watch Padakkalam Padakkalam is all geared up for its release on the OTT platform, JioHotstar, from June 10, 2025. The official announcement of its streaming update was made by the platform via its social media handle. Sharing the update, they penned, 'The Battlefield of comedy arrives at JioHotstar from June 10th!' (translated from Malayalam). Official trailer and plot of Padakkalam Padakkalam focuses on the story of 4 nerdy comic book lovers who are confronted by a charming new professor in their college. The seemingly great person hides a sinister mind within himself and is allegedly a user of sorcery, able to swap bodies with people. With their college life turning upside down, the gang of friends, along with another professor, try to figure out why the supernatural events are happening and how they would deal with it. Cast and crew of Padakkalam Padakkalam is headlined by Suraj Venjaramoodu and Sharaf U Dheen in lead roles. Apart from them, the movie has actors like Sandeep Pradeep, Saaf, Arun Pradeep, Arun Ajikumar, Niranjana Anoop, Pooja Mohanraj, Ishan Shoukath, and many more in key roles. With Manu Swaraj helming the project, he co-wrote the screenplay with Nithin C Babu. The film, co-produced by actor Vijay Babu, has musical tracks and scores by Premam fame Rajesh Murugesan. As Anu Moothedath took care of the film's cinematography, Nidhin Raj Arol handled the editing. The film was received with mixed reviews from critics but managed to become a commercial success in theaters. Coming to Suraj's upcoming ventures, the Narivetta actor is speculated to be part of Rajinikanth starrer Jailer 2. The movie directed by Nelson Dilipkumar is a sequel to the 2023 blockbuster Jailer. Interestingly, the superstar had met with the core cast and director of Padakkalam during his shoot schedule in Kozhikode, Kerala.
New Indian Express
3 days ago
- Entertainment
- New Indian Express
Ten years of 'Premam': Why this movie was a trendsetter
Premam hit the screens on Friday, May 29, 2015. Directed by Alphonse Puthren, it was not only a box office success — it was a cinematic magic. A memory that refuses to fade, even nearly a decade later. After all, Alphonse and Nivin had already created a buzz with Neram. Premam wasn't just one love story it was three. What it truly captured were the many shades of youth: the awkwardness, the crushes, the heartbreaks, re-awakenings, and the kind of love that endures quietly in the end. 'The fundamental nature of love remains the same, but our way of thinking changes,' reflects film critic Subash Babu. 'That old-age romance where a boy goes behind a girl on a cycle convincing her to say yes will not be accepted by the audience anymore. Today, the character of George might be seen as a stalker,' he noted. Yet, back then, George was a phenomenon. As for the songs, the Aluva Puzha number echoed across bus stops and late-night drives in those days. So as well, Malare... Rockankuthu wasn't just performed it was danced at every college fest, every wedding sangeet and every cultural event.
Pink Villa
4 days ago
- Entertainment
- Pink Villa
Top 10 Sai Pallavi's most iconic roles that will make you love her even more: Premam, Amaran, and more
Sai Pallavi 's best roles in Indian cinema made her one of the most successful contemporary actresses. The actress, known for her natural acting, nuanced performances, and mesmerizing dance moves, has carved out a name for herself, establishing a niche worthy of her talents. Sai initially started her career in the world of entertainment, appearing in dance shows like Ungalil Yaar Adutha Prabhu Deva and Dhee Ultimate Dance Show, with the latter even featuring her as a finalist. During her childhood, she even played minor roles in films like Kasthuri Maan and Ravi Mohan's Dhaam Dhoom, appearing alongside Kangana Ranaut. Initially, moving away from the cinema world, the actress went on to pursue a medical degree in Georgia. However, during her time there, director Alphonse Puthren reached out to her for Premam, making the Nivin Pauly starrer her debut as a leading lady and catapulting her into popularity. Diving deep into the details, let's take a look at Sai Pallavi's iconic roles with some of her best movies. Top 10 Sai Pallavi's Most Iconic Roles 1. Premam (2015) Director: Alphonse Puthren Cast: Nivin Pauly, Sai Pallavi, Madonna Sebastian, Anupama Parameswaran, Shabareesh Varma, Krishna Sankar, Siju Wilson Year of release: 2015 Film Language: Malayalam Why fans loved her: Premam is one of those films in the Malayalam cinema industry that is considered a trendsetter and still remembered for its nuanced performances. The movie, featuring the abstract concept of Love (Premam in Malayalam), follows the life of George, tracing his life from a teenager through his college years and finally as a middle-aged man. During his lifetime, the man had three major love stories, illustrating how his perspective on relationships evolved with each one. While Anupama Parameswaran and Madonna Sebastian were great, it was Sai Pallavi's portrayal as Malar that stole the hearts of everyone, making her still iconic among young men. 2. Kali (2016) Why fans loved her: After the sensation created by Premam, Sai Pallavi soon appeared alongside Dulquer Salmaan as the romantic pair in Kali. The movie, directed by Sameer Thahir, was a romantic action thriller that focused on the story of Siddharth, a man struggling with severe anger management issues. His college sweetheart and later wife, Anjali (played by Sai), is frustrated with his behavior, causing trouble in their life. However, things take a stark turn when the couple, during a road trip, messes with the wrong group of people, creating an engaging and thrilling tale of escape. While Dq played a character who is easily swayed by emotions, it was the actress who managed to balance between feelings of distress and hope, with ease. 3. Fidaa (2017) Director: Sekhar Kammula Cast: Varun Tej, Sai Pallavi, Sharanya Pradeep, Sai Chand, Dhaasshyam Geetha Bhaskar, Satyam Rajesh Year of release: 2017 Film Language: Telugu Why fans loved her: Fidaa, starring Varun Tej in the lead role, was a love story featuring the story of Varun, an NRI who crosses paths with Bhanumathi, a spirited village girl. With a romance budding between them, the film focused on how the two strange worlds collide and whether one fits in the other's world. Unlike Sai's previous roles, Fidaa depicted her as a girl with more flair and passion. The extroverted energy she had emphasized her role as Bhanu, making it one of her best performances. 4. Middle Class Abbayi (2017) Why fans loved her: Middle Class Abbayi, also known as MCA, marked the first time Nani and Sai Pallavi shared the screen. With both powerhouse actors joining in, this simple action comedy tells the tale of Nani, a man with an eidetic memory who harbors animosity towards his sister-in-law, Jyothi. Over time, the man realizes his sister-in-law loves him like a son. Interestingly, Nani falls in love with Jyothi's own sibling, Pallavi, during this time, making for some memorable songs, with Sai's killer moves. The film was remade in Hindi as Nikamma in 2022. 5. Diya/Kanam (2018) Why fans loved her: Skipping away from actioners and romantic ventures, Sai Pallavi stole the show with one of her best roles in the Tami-Telugu bilingual movie, Diya (known as Kanam in Telugu). The horror flick featured the tale of Thulasi and Krishna, a couple who had a pre-marital pregnancy and were pressured to abort it. Years later, now married, the former is still traumatized by the fact that she had to abort her child with her husband trying to help her out. However, unbeknownst to them, their child's spirit is still lingering around them, vengeful towards the people who pressured Thulasi to abort her. As the actress plays a sorrowful mother, she makes the character stand out with her natural talent. 6. Athiran (2019) Why fans loved her: Athiran, starring Fahadh Faasil in the lead role, is a psychological thriller that features him as Dr. MK Nair. The movie features the tale of a psychiatrist who makes his way to an eerie mental asylum where the main doctor and patients are all mysterious. During his time there, he meets Nithya, a young girl diagnosed with autism, and develops an affection for her as the mysteries of the asylum unravel slowly. As Pallavi plays the female lead, the actress impresses the audience with her portrayal of an autistic person. 7. NGK (2019) Director: Selvaraghavan Cast: Suriya, Sai Pallavi, Rakul Preet Singh, Ponvannan, Nizhalgal Ravi, Uma Padmanabhan Year of release: 2019 Film Language: Tamil Why fans loved her: An acting performance by Sai Pallavi, which seems to have gone unnoticed by the makers, is in the Suriya -starrer political actioner, NGK. The Selvaraghavan directorial featured the tale of a social worker and do-gooder, Nandha Gopalan Kumaran, who enjoys huge support from youngsters of his area. However, due to several tensions, NGK is forced to join a political party and face the reality of the system. The event that follows, including having an affair, forces him to become hungry for power, holding no bounds in his triumph. With Suriya delivering a lifetime of performances, showcasing elements of narcissism and darkness, Sai, as his wife, countered him, providing a brazen and impactful portrayal. 8. Shyam Singha Roy (2021) Why fans loved her: Shyam Singha Roy is a period action romantic movie featuring Nani and Sai Pallavi in the lead roles. The film features the story of Vasu, an aspiring filmmaker in Hyderabad, who finds himself in a legal dispute over claims of copyright infringement. Apparently, his feature film and the story of a Bengali novel are said to be the same, revealing him to be the reincarnation of the social reformer Shyam Singha Roy. Tracing back to his past life, the movie focuses on how the influential man fell in love with Rosy and what led to his demise. With Nani in the lead role, Sai Pallavi graced every scene of the film, appearing charming and ethereal not just with her looks but also her acting prowess. The film is undoubtedly one of her top movies. 9. Gargi (2022) Why fans loved her: Gargi is a legal drama movie featuring Sai as a doting daughter who must fend off allegations made against her father for a heinous crime. Convinced of her father's innocence, the woman tries everything in her power, only to be confronted with a dark and horrifying truth. With the power-packed performance by the actress, Gargi, the film becomes a must-watch for her fans. 10. Amaran (2024) Director: Rajkumar Periasamy Cast: Sivakarthikeyan, Sai Pallavi, Rahul Bose, Bhuvan Arora, Haethakshi V, Lallu, Shreekumar Year of release: 2024 Film Language: Tamil Why fans loved her: A biopic on the martyred soldier Major Mukund Varadarajan, the Sivakarthikeyan-starrer Amaran featured the tale of an army man and how much his family sacrifices for the nation's welfare. The film, based on true lives, not only showcased the trials faced by the army major but also how his resilience stemmed from his wife at home, with Sai performing her heart out as Indhu Rebecca Varghese. What Makes Sai Pallavi Stand Out? Sai Pallavi, from her debut in cinema itself, has managed to stand out from her counterparts. While making the best out of playing romantic leads alongside stars, the actress shines through with her solo ventures, making her a bankable star as well. Not only is she capable of making her performances memorable, but Sai also adapts herself deeply into the characters and even presents grace with each scene she is a part of. With such roles in her filmography, the actress has managed to create an aura of anticipation among people eagerly awaiting her future projects, especially as she is expected to play Sita in the Ranbir Kapoor-starrer Ramayana duology.
Hindustan Times
6 days ago
- Entertainment
- Hindustan Times
10 years of Premam: Why do we know so less about Sai Pallavi's Malar?
Revisiting a film like Premam after a decade is somehow fitting in the most cinematic way. One of the many aspects about this unruly, poignant coming-of-age drama directed by Alphonse Puthren that sticks is the way in which it asks the viewer to stay beside its protagonist George David. Played strikingly by Nivin Pauly, Premam sees George through three stages as he falls in love: childhood, teenage and then adulthood. He makes mistakes, stumbles and deals with heartbreak. Somewhere along the way, Premam insists that it all matters. (Also read: 10 years of Piku: Shoojit Sircar's slice-of-life film refuses to age) When I had watched Premam for the first time, I was somewhat in the same phase as George David in his college. In Premam, this chapter comes midway, when George David first meets Malar- the beautiful guest lecturer in his college played by Sai Pallavi. He is besotted by her from the first moment, and Malar responds to his awkward and flirtatious advances with glee. Puthren films this chapter in glorious, novelistic detail; traversing the classrooms and canteens, carefully creating a rich interiority in the space of the college. Nivin and Sai conjure up an effortless chemistry on-screen, so beautifully registered when the song Malare erupts. It is the film's most thrillingly realized moment, like a dreamscape of sorts for George David when he cannot see, feel or proceed anything else but this all encompassing love for Malar. George David wakes up from this dream soon enough, with the cruel reminder that simply loving is not enough. At the first watch, I was truly dumbstruck by this narrative decision, as Malar fails to recognise George after losing her memory in an accident that occurs entirely off-screen. The unfairness of it all felt too harsh, too unforgivable. Upon a revisit, I could not shake off the notion of how little we know of Malar from the first place itself. Premam is a film that is in no hurry to anywhere real soon, but then suddenly realizes that it is time to move on. The scapegoat in this narrative template is the Malar episode, where George's vulnerability is of greater urgence than grounding Malar's subjectivity. Watching Premam after all this years is an act of recognition that the film operates strictly from a limited perspective. Stretches of the film is devoted to George David's awfully careless and languorous attitude towards the present. Malar exists in Premam only till the extent to which George David can dream and care about- there is no outer life beyond his point of view. We do not know where she comes from, what makes her fall in love with a student, and whether she ever realises that this was a mistake after all. Why do we know so little about Malar even after the film spends so much time with her character? Sai Pallavi carries this effortless magnetism and screen presence that makes Malar reliable even at her worst impulses, but there is no denying that hers was the most underwritten part in the film. The camera is so obsessed with George David growing up that it fails to recognize the other grown up people in his surroundings also exist. Not just Malar, we see very little of Mary and Celine too. Celine's arc, which arrives with a note of predestined urgency later, feels calculated even more now after a revisit. The persistent tone of Premam might have felt cutesy and charming at first, but ten years later, it reinforces a sort of male fantasy that love is the great equalizer after all. Premam's focus rests in underlining what George David cares about, who he talks to, what he feels. Yes, that is important in the context of the film in all fairness, but this subjectivity never really reaches a clarity of purpose. We know very little of how George David ended up running that café with his childhood friend Jojo. Whether he had any setbacks after college, what life taught him in all these years. There is a hidden meta-ness in this revisit of a film I liked so much, especially for a character like George David for whom I once felt such a deep allegiance. His vulnerability was extraordinary to witness. But after 10 years, this viewer has grown up to see so little of the man George David grew up to be, that the initial imprint wears off. Premam is still quite moving in its sensitivity, and Nivin Pauly is undeniably great in it. However, I could not shake off the feeling that this is a film that pursues the idea of finding purpose for its protagonist and fails to do the same for itself. Ten years later, George David certainly has wandered off somewhere and is still looking for love, isn't he? Premam is available to watch on JioHotstar.
Indian Express
6 days ago
- Entertainment
- Indian Express
10 years of Nivin Pauly and Sai Pallavi's Premam: Unpacking the ‘second film in the history of world cinema with nothing fresh'
It was May 2015, the pre-Covid era when anything and everything called for celebration in Kerala colleges: whether someone passed or failed an exam, showed up or skipped class, or even whether it rained or didn't (this was also before the 2018 floods, when incessant rains simply awakened the festive side in people of non-coastal regions, not fear). College students did not need a particular reason to 'party'. Yet, the pandemonium caused by one movie's release outperformed all. On May 29, director Alphonse Puthren returned with his sophomore venture, Premam, featuring Nivin Pauly and Sai Pallavi among others. Since Nivin and Alphonse had impressed with their previous film, Neram (2013), many were confident that this one would at least be decent. But few could have predicted what followed. Even now, in hindsight, it's hard to fully grasp the kind of bedlam Premam created, taking over colleges — with boys/men turning up donning black shirts, white mundu (dhoti) and shades on every occasion, copying Nivin — and becoming a trendsetter in Kerala, with a ripple effect that spread to other parts of the country too. As it turns 10 today and continues to enjoy a massive fan following, two questions still remain: What actually appealed to the audience? And how the hell did a movie marketed as 'the second film in the history of world cinema with nothing fresh' end up feeling fresh? Unlike Neram, Premam wasn't written in a non-linear format. The events unfolded more or less chronologically, with occasional flashbacks. However, it was far from a conventional screenplay. Adopting a style akin to elliptical storytelling and following an episodic structure, Alphonse narrated different stages in the life of George David (Nivin Pauly), focusing particularly on his romantic interests — one in each phase, with not all of them turning into full-fledged or lasting relationships — that shaped him. The screenplay offered something distinct and stood out even on paper. Instead of following the conventional style of showing the thank-you cards against a black screen and in silence, Alphonse cleverly inserted a calming visual of a butterfly fluttering around, searching for nectar from flowers. Given that nectaring is often used as a metaphor for finding love (with subtle sexual innuendos), this visual — with the camera also fluttering — immediately followed by the title Premam (Love), effectively set the stage for what was to come. With composer Rajesh Murugesan's sleek and catchy track 'Ithu Puthan Kalam', penned by Shabareesh Varma and sung by both of them, playing in the background, the audience could effortlessly slip into the world of the film. A post shared by Alphonse Puthren (@puthrenalphonse) By beginning the story in medias res, Alphonse also broke away from the typical template of Malayalam films in the coming-of-age and romance genres. Although the movie opens with a card stating, '1984: A baby boy, George, was born to David and Tresa,' it immediately cuts to a random point in his late teens. Interestingly, the narrative doesn't begin at the start of any particular event, not even when he first meets Mary (Anupama Parameswaran), his romantic interest of that era. By the time we are introduced to George, he has already fallen hard for her. Instead, Premam drops us into an ordinary day in 2000, when he is already busy writing her a love letter. Breaking the fourth wall, George looks directly at the audience and playfully mimics Mammootty as he says, 'My love for you is genuine, Mary.' In this very first scene itself, the writer-director not only establishes George's goofy and inattentive nature but also sets the tone for the rest of the film. Even as the movie progresses, Premam does not serve too many lovey-dovey moments. Instead, it adopts a slice-of-life tone and takes the audience on a fun journey with George and his two friends, Koya (Krishna Shankar) and Shambu (Shabareesh Varma), as he tries different methods to win Mary's heart. Unlike typical romance films, where measured, often poetic dialogues are delivered by characters in love, the lines spoken in Premam mostly sound unscripted and natural. With constant chatter filling the frame, Alphonse ensured the scenes felt lively and relatable. Interestingly, in this part of the movie, we mostly see close-to-mid shots, emphasising how small the world of these kids is and how their focus is limited to just a few things that bring them happiness. For George — and many late teens in that area — their only aim in life is to woo the local beauty, Mary. For Koya and Shambu, it's all about the three of them being together. By allowing the actors to follow their instincts with the dialogues, Alphonse ensured the scenes didn't appear artificial. Although many of the moments featured in this part of the film were fresh to mainstream Malayalam cinema, they were simply drawn straight from everyday life. A perfect example is the scene where Shambu receives a call from George just as he is about to attend to his physical needs after fetching an adult magazine, and is interrupted by a kid at his home who tries to snatch the magazine as he desperately tries to hide it while talking on the phone. Another major advantage the film enjoys here is that nearly all the jokes and one-liners, particularly the back-and-forth between Girirajan Kozhi (Sharaf U Dheen) and Jahangir (Althaf Salim), land effectively. Adding to all this is the inclusion of the track 'Aluva Puzhayude', which had already become a hit by then, featuring enticing visuals and an extremely adorable Nivin at the centre, ensuring the audiences are thoroughly hooked. But once the movie enters its next phase, set in 2005 when the central trio is in college, Premam hits top gear and drifts into a strikingly different territory. The once-cute George has now metamorphosed into a hypermasculine, fearless figure. Often seen in a shirt and mundu, flaunting his thick moustache and beard, and fully embracing the 'complete Malayali man' image, he crashes into the hearts of the audience by literally bursting a bomb cracker. Soon after this segment opens with an iconic dialogue from Rajamanikyam (2005), we see George, Koya and Shambu disrupting a college event, which leads to a group fight that they and their friends easily win. Set against the high-octane 'Kalippu' track and taking place on a ground soaked with muddy water, the scene not only gave the audience goosebumps but also impressed with the film's sharp tonal shift. By leaping suddenly from a feel-good atmosphere into another world — one that taps directly into the target audience's fondness for action sequences and their obsession with the 'complete Malayali man' — Alphonse masterfully crafted his own formula for commercial cinema. Although the industry has produced far too many movies set in colleges, Premam managed to stand out. By focusing on seemingly mundane moments and transforming them into engaging scenes, blending equal parts of comedy and hypermasculinity, the filmmaker offered a fresh view of campus life. Unlike most mainstream Malayalam campus films, where students engage in stock activities and everything revolves around the male protagonist, Alphonse showed that George's world remained small, with only a few close friends, while an expansive world existed outside it. This is exemplified brilliantly in how the film parallelly follows both George and Vimal (Vinay Forrt), a lecturer at the college, vying for the attention of the same woman, Malar (Sai Pallavi), who has joined as a guest lecturer. Once she enters the scene, Sai Pallavi joins Nivin in owning the film. With her extraordinary screen presence and stunning chemistry with him, they elevate the movie to a whole new level. Unlike the first phase, where everybody around knew George had an eye for Mary, the romance here unfolds away from the public eye, with only Koya and Shambu in the know. Even though George usually instils fear in others with his perpetually brooding expression, he transforms into a pookie around her, vying for her glances and attention. Although George's friends point out the differences between him and Malar, such as their age gap, language barrier (since she's Tamil), and the fact that he's her student, Premam avoids delving unnecessarily into these, even when such conflicts could have been convenient plot devices. Featuring only very ordinary moments that are elevated through clever staging and execution, Premam proved that filmmakers don't always need to follow conventional rules and that things can turn out beautifully when they trust their instincts and heart. Another major strength of the film lies in its exceptional music and thoughtful placement of songs. Rather than relying on them for quick narrative advancement, Alphonse uses them to emphasise emotions and enhance the film's mood. 'Malare', sung by Vijay Yesudas, one of the most celebrated Malayalam playback songs of the decade, not only illuminated George and Malar's hidden-in-plain-sight love but also highlighted the beauty of simplicity and restraint, something sorely missing from many films of that time. The addition of a perfectly choreographed number like 'Rockaankuthu' ensured the film offered a complete cinematic experience. This phase of Premam didn't just brim with romance, it also featured one of the most brilliant depictions of heartbreak in Malayalam cinema when George's brave face is stripped away and the hypermasculine image he had built crumbles as he bursts into tears, melting into the arms of his friends upon realising he's lost Malar forever. The way this scene was (re)created and performed by Naga Chaitanya in the Telugu remake, which was nothing short of amateurish, highlights the brilliance of Alphonse's direction and editing, and Nivin's performance. In its third and final phase, Premam presents a more mature George, who is no longer the angry young man he was in college. Now running a café in Kochi, he carries the pain of lost love but has moved on, blending his earlier fun personality with a more grown-up nature. Koya and Shambu remain his closest friends, and they still meet regularly. It is here that he meets Celine (Madonna Sebastian), who is related to Mary, and falls for her. However, by the time he confesses his feelings, her marriage has already been arranged. This leads to George's third heartbreak. The way Alphonse crafted George's character arc and emotional growth here is commendable. This is especially visible in the mature way George handles her initial rejection. Nonetheless, the two end up together eventually; third time's the charm. Premam was not without its flaws. From its celebration of ragging and hypermasculinity to its relegation of the women to mere love interests in George's story, the film had its share of issues. However, Alphonse's masterful use of the most mundane elements and experiences from ordinary life — elevated to extraordinary heights by an exceptionally brilliant Nivin Pauly and the incomparable Sai Pallavi, supported by a talented ensemble — fortified Premam as one of the most celebrated Malayalam films of the 2010s. The movie was not only a blockbuster success but also came close to surpassing Jeethu Joseph and Mohanlal's Drishyam (2013) at the box office. It might have taken the top spot of that era had its pirated version not leaked online. Nonetheless, Premam remains a benchmark in the careers of Nivin Pauly, Sai Pallavi and Alphonse Puthren, and in the landscape of Malayalam cinema itself. Cinema cannot exist in a vacuum; it's all about the discussions that follow. In the Cinema Anatomy column, we delve into the diverse layers and dimensions of films, aiming to uncover deeper meanings and foster continuous discourses. Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More
