Lies, Misery and Secrets float like contaminants on the surface of a massive flood, in an effectual yet mystery drama directed by Christo Tomy.
I’m sure we have all heard how the Netflix series Curry & Cyanide: The Jolly Joseph Case became the talk of the world when it premiered. It made sure that we didn’t look at ‘curry’ or ‘cyanide’ the same again. The director, Christo Tomy, gives his ‘domestic spin’ drama once again with a narrative feature entitled Ullozhukku, presented at the Indian Film Festival of Los Angeles 2024, which pits two strong-willed women who are conflicted with each other’s point of view on the constitution of marriage in the middle of a massive downpour.
Anju (Parvathy Thiruvothu) demonstrates enormous responsibility in caring for her bedridden, ailing husband, who needs her constant support. Her son’s condition affects Leelamma (Urvashi), who struggles with despair and persistently prays for a miracle. There seems to be a healthy relationship between them, yet there is a form of bewilderment within Anju that distresses her constantly. She seems to be trapped in a state similar to a zombie, where her physical self is present but her mind is elsewhere, building castles in the air. She has a plan in hand and many secrets that she keeps safely with her. Yet, every plan comes with a risk, and when it goes sideways, the Pandora box will reveal its hidden truths one by one. This applies not only to Anju but to everyone.
Ullozhukku, which is defined as undercurrent, traps us in a realm of misery that deeply penetrates the hearts of women in today’s society. The film carries a number of insightful messages that reflect the progression of women toward freedom of choice and how important it is. Anju, as an adult woman, aspires to pursue her preferred path of finding love and true intimacy, all the while grappling with the agony of enduring a loveless marriage. Leelamma is a representative of an aged woman who is devoted to bringing her son all forms of happiness and longevity while also placing most of the burden on Anju’s shoulder. There is a generational gap between these women, where the debate over upholding marriage vows versus a conservative approach arises and equates into a larger discussion on social patriarchy. The generation gap manifests internally, gradually escalating into a sensitive uproar.
The trap does not stop there. Christo Tomy has set more emotive traps for us, shedding light on the dominance of parents over their children, particularly females, a phenomenon that appears to persist in most Asian cultures even today. Parents lock in the freedom of choice, guarding the keys, leaving their daughters as victims and ultimately bearing the consequences of a failed marriage. Urvashi’s magnetic and everlasting performance as Leelamma is a wonder in Indian cinema, where her film choices are now heading towards nuanced and dramatic roles apart from her regular comedy takes. Parvathy Thiruvothu’s portrayal of Anju, who competently balances her preference and obligation while enduring her misery with clairvoyance, is equally astounding. Sushin Shyam’s engaging music assures that mystery drama and Shyam are a perfect match.
A funeral procession occurs, and all the mixtures of emotions shatter. The water droplets of misery flood the village, where courtesy loses its grasp. Ullozhukku’s potent climax breathes a gulp of fresh air, where everyone sits on the tip of the iceberg and eventually breaks down. Everyone becomes a victim, losing something valuable at the end—be it love, be it trust, be it devotion. The traps are set free at one point, but the water rises with pain. Each teardrop shed by these two women has a different depth. Yet, these teardrops offer a solution that might just cure them permanently.
However, the question that might stir you up now is, how well do you know someone?
