After appearing as a child actor in Tamil films in the 1960s, Kamal Haasan’s first leading role was in the Malayalam-language Kanyakumari in 1974. Kanyakumari was written by MT Vasudevan Nair, the author and filmmaker who is revered in Kerala and beyond.
It’s fitting, then, that Haasan should introduce Manorathangal (Mindscapes), an anthology series based on Nair’s works. Previously intended for Netflix, Manorathangal has instead been scooped by ZEE5. The nine-episode series, an unusual addition to ZEE5’s typical programming, is available in Malayalam with subtitles as well as a Hindi dub.
Several prominent filmmakers and actors have worked in the short story adaptations, from Mammootty to Mohanlal, Fahadh Faasil to Asif Ali, Nadiya Moidu to Parvathy Thiruvothu. Many of the actors have previously appeared in films written by Nair.
However, the star performer is the litterateur, whose ideas provide a steadying force to the uneven quality of adaptation on display. Nair has written all the episodes, ensuring that his distinctive voice – curious, humanistic, poetic – resounds across the series.
Each chapter begins with Kamal Haasan in a library surrounded by Nair’s writings, delivering commentary at times, context at others, and effusiveness always. It’s a pity that Haasan didn’t direct or act in of the stories.
Priyadarshan is Manorathangal’s showrunner, while also helming two episodes. Priyadarshan has re-filmed Olavum Theeravum (Ripples and the River Bank), previously an acclaimed movie by PN Menon. Priyadarshan’s version stars Mohanlal as a boatman who embarks on a tricky relationship with a sex worker’s daughter (Durga Krishna).
Mohanlal is too long in the tooth to be convincing as a blushing boyfriend, as is Hareesh Peradi as Baputty’s rival. Santosh Sivan’s monochrome camerawork supplies an extra layer of polish to a clinical adaptation that lacks emotional heft.
Priyadarshan fares better in Shilalikhitam (Inscriptions), largely because of the brilliant source material. This story suggests that disregard for suffering is not only an urban trait.
Gopalankutty (Biju Menon) reluctantly drags himself and his daughter Renu (Nila Bharathy) to his ancestral village. Gopalankutty’s visit is dominated by the drowning of a young woman, which evokes not empathy but tattle, self-interest and cruelty. Gopalankutty’s sense of superiority over the local busybodies, which includes a delightfully odious character played by Joy Mathew, proves to be short-lived.
A few other episodes capture the gravitas, complexity and open-endedness expected from a celebrated writer of searching prose. Jayraj’s Swargam Thurakkunna Samayam (When the Doors of Heaven Open) is based on what Kamal Haasan says is one of his favourite stories.
Kuttynarayan (Indrans) is famous for his ability to predict the time of death. Whatever has to happen has to happen, Kuttynarayan declares with evident relish.
Even as Kuttynarayan bustles about preparing for the cremation of an ailing village notable (Nedumudi Venu), various family members troop in, inheritance and property prices on their minds. A magnificently subtle performer, Indrans’s only overt touch is a crab-like walk while aiding the shuffling off of the mortal coil.
Santosh Sivan’s Abhyam Theedi Veendum (Once Again, In Search of Refuge), starring Siddique as a wanderer caught between fantasy and reality, and Rathish Ambat’s Kadalkkaattu (Sea Breeze), featuring Indrajith as a philandering husband, are too slight to register.
Star power somewhat boosts Ranjith’s Kadugannava Oru Yathra Kurippu (Kadugannava: A Travel Note), starring Mammootty as a journalist looking for a family connection in Sri Lanka and Vineeth as the journalist’s father.
In Shyamaprasad’s Kazhcha (Vision), Parvathy Thiruvothu plays Sudha, whose grandmother helps her deal with a crumbling marriage.
MT Vasudevan Nair’s daughter Aswathy Nair directs Vilpana (The Sale), about a housewife (Madhoo) bonding with a journalist (Asif Ali) over the auction of her household furniture. Sunil enters Gita’s home in Chennai with the intention of buying a typewriter and leaves with a novel’s worth of insight into the aching loneliness of married women.
Another strong episode stars Nadiya Moidu and Fahadh Faasil. Kamal Haasan’s description for Sherlock talks about the source story’s “eloquent silences”. Director Mahesh Narayanan retains some of the quietness present in Nair’s layered exploration of escape and redemption.
Recovering alcoholic Balu (Faasil) arrives at his unnamed sister’s house in a snow-laden city in the United States. The sister (Moidu) is married to a man who is never seen. But present at nearly all times is an adorable ragdoll cat named after the iconic detective.
The feline plays several roles – an annoyance for Balu, comfort for his sibling, a witness to their unravelling selves. The story’s unpredictable turns are bolstered by a lovely turn by Moidu and a deftly judged tragicomic performance by Faasil.
Also read:
Bear With Me, Amma’: For writer MT Vasudevan, fiction is a blend of reality and imagination
Writer MT Vasudevan Nair on how stories come to him as a ‘vague gleam of light’
