Re: Take Off Malayalam Movie Dvdrip Download
Brandi Baylon
However within a day, Mosul falls into hands of ISIS and the medical team is taken into captive. News gets flashed and Sameera pleads with hospital management to help in rescuing her husband. As Iraqi forces retreat from Mosul, the Iraqi government is no longer in position to help. The hospital manager advises Sameera to seek assistance of Indian Embassy in Baghdad. Sameera along with manager visits Embassy where she meets Indian Ambassador Manoj Abraham. They promise assistance but remind them that it's a war zone and Indian Government has its own limitations in intervening.
In meantime at Mosul, ISIS terrorists kill the doctor for not complying with them to treat wounded terrorists. Shaheed to save his life, offers medical assistance to wounded ISIS terrorists. Sameera starts informing about the tensed situation at Tikrit through her mobile to Kerala government. The Chief Minister of Kerala along with India's Foreign Affairs Minister starts briefing with the Ambassador. As there is no direct communication or normal diplomatic relationship with ISIS, Indian government has little chances of a formal route to intervene. Indian Government sends its Foreign Secretary to Iraq, who initially thinks that Iraqi Army will help the stranded nurses out of Tikrit. However the Ambassador doesn't join on that and assumes full responsibility to rescue. Meanwhile, International Red Cross and Red Crescent Movement offers their assistance and a bus is arranged to fetch all stranded nurses out of Tikrit. But, as they need to pass through extreme violent war zones of Mosul, Indian Embassy cancels permission, which results only Indian Nurses stranding in Tikrit, while other nationalities taken out. However the decision of Indian Embassy is proven right when the bus gets caught in a crossfire near Mosul, killing all nurses. With just 19 Indian nurses stranded in Tikrit, ISIS decides to use them as human shields and plan to take them to their key base Mosul. India responds by dropping food packets near hospital, but one packet contains a secret satellite phone with location detector which Sameera take over to correspond with Crisis Command center at Indian Embassy.
Meanwhile, at Mosul ISIS base, Sameera and nurses are brought before a main cleric, who test them to ensure they all are Muslims. Sameera's knowledge in Arabic, her son's knowledge in Quran and the coordinated Namaaz all help them to believe that the entire nurses are of Muslims and no harm is done. With the Royal's intervention, a secret deal was drawn between India and ISIS. ISIS agrees to transfer the nurses to Erbil near the Kurdistan Check Point. Meanwhile, with Sameera's persistence, she finds out Shaheed among ISIS captives who were about to be executed and with her pleas, she is able to rescue him from there. Sameera, Shaheed, Ibrahim and nurses are brought to Kurdistan from where India take them over in their buses and a special flight is arranged to take them back to Cochin from Erbil.
The Times Of India rated the film 4 out of 5 stars saying that "Take Off is a brilliant take on a real-life tale and with the director's own spin on the incidents, it makes an engaging cinematic experience that could give even Bollywood movies of similar genre, made at much-bigger budgets, a run for their money".[12]The News Minute rated the film 3 out of 5 stars and stated "With excellent performances and intelligent direction, Take Off is a must-watch".[13]Manorama Online rated the film 3.5 out of 5 stars saying that "Take Off is an absolute must-watch if you want to witness Mollywood's earnest attempt to fly new heights.[14]
Anna (Priya Prakash Varrier), a student who dreams of becoming a doctor, is mistakenly detained during a raid and let off. However, Sam John Vakkathanam (Shine Tom Chacko), the editor of a major media house, decides to dig up her background and goes to town with a fake news around the incident, bringing more misery to the traumatised woman. Standing with Anna all through is Amala (Mamta Mohandas), a doctor, who is also coping with online stalking.
The makers of Live seem to have given much thought on the subject they are dealing with, but not much on how they would portray it on-screen. It thus ends up as a weak take on a relevant issue.
Meanwhile, we are shown the story of Aswathi (Kavya Madhavan), who is a lower middle-class Malayali woman from Pattambi, Kerala. She marries a thug named Radhakrishnan (Biju Menon) who confesses her about his premarital life and assures a complete change. Unfortunately after a short period of happy life, he dies due to drowning. Due to the financial constraints of her family and the untimely death of her husband, Aswathi is forced to be the bread earner of the house and opts to go to the Persian Gulf. Usman (Suraj Venjaramoodu), who is the car driver of an Arab family, belongs to Aswathi's village and he arranges the visa for Aswathi and brings her to Saudi Arabia. After she lands in Saudi Arabia, she is forced to wear a burqa at all times, due to the strict dress code of the country. She is subsequently exposed to a slavery-like vocation and is taken up under a sponsor to work for him as a maid.
Kamal hired K. Girishkumar to co-write the screenplay. Girishkumar's earlier works were mostly family dramas, such as Veruthe Oru Bharya, Kana Kanmani and Amrutham.[15] Kamal and Girishkumar have included several real-life characters and incidents as Girishkumar says: "Many of the incidents captured in the film are taken from real-life incidents. Only the structure of the story is fictional, the rest of it has been picked up from various individual experiences."[15] According to Kamal, more than 90 per cent of the film is captured from real life.[3]
Director: Jithin Issac Thomas
Cast: Vincy Aloshious, Unni Lalu
The star and USP of Rekha are Vincy Aloshious playing the titular tomboyish woman in love with Arjun, an unemployed young man from the neighbourhood, played by the gifted Unni Lalu, who essayed the rebellious protagonist from Pra. Thoo. Mu. The lion's share of Rekha's pre-interval portions sets up the romance between the two while giving us a sense of the neighbourhood -- the sights, sounds, the homes of Rekha and Arjun, their neighbours, the mundane small talk comprising subjects irrelevant and insignificant to an outsider but a big deal for these people.
When you have characters exchange banter in their own dialect, peppered with their own quirks, you sit there soaking it all in. It's just the little things -- an argument about a hen laying eggs in the next home, an attempt to retrieve a metal vessel that has fallen into the well, a local member moonlighting as a broker... In the meantime, we get a bit of background about Rekha. She has been to a sports school and is prepping for PSC. Only one of these details would turn useful at a crucial juncture in her life.
There is an immersive quality to the visual and sound design, notwithstanding the minimalist approach. Director of photography Abraham Joseph, who made a mark in Kumari, fills the atmosphere with enough grit and menace. The closing nighttime stretch in a deserted Kochi street has an otherwordly quality while being careful not to make every frame look pretty.
One of the film's most notable sequences has the main couple engaged in a phone text interaction before they video call each other. We have seen the onscreen chatbox display approach before, but if I recall correctly, the actors' voices 'reading out' their respective messages while their lips don't move is a first. Impatient viewers might find such a thing cumbersome, but there is a seemingly good reason for Jithin to extend these digital interactions.
Another scene has Arjun barging into Rekha's home unannounced in the hope of making love. This moment is remarkably staged, with Vincy superbly portraying Rekha's concerns about discovery and apprehension at making physical contact for the first time. For a while, you think it's all so sweet until this clandestine rendezvous' true and twisted implications become apparent much later.
Unlike Attention Please, Rekha manages to venture outside the main characters' setting after a point -- when it morphs into an intense revenge thriller after Rekha discovers an act of injustice. When Arjun goes on the run, she is devastated. Jithin, who has in his last two films shown a penchant for conveying a character's troubled state of mind through masterful editing, portrays some of Rekha's most turbulent episodes similarly, with intercuts, blurs, and surreal imagery.
When Rekha finally goes into avenger mode, the film brings the promise of severe retribution, be it the way she deals with Arjun or any other sicko she meets along the way. And, in any film featuring characters with deviant behaviour, unsettling situations go with the territory. But unlike this week's other release, Christopher, these are not too disturbing as Rekha is a film where fate favours the woman more. However, if you are a pet lover, the offscreen murder of a dog might shake you.
Rekha is not an easy film to watch. However, the protagonist's 'sports background' offers a comforting cushion in several situations of peril for the once-naive woman who got into a relationship because she was bothered by all her 'taken' friends. I found the third act chase stretched out more than necessary; perhaps Jithin wanted to present a stark contrast to the elonged lovey-dovey portions I mentioned earlier. The sustained tension works in most places, but at the same time, there was the nagging feeling that perhaps taking out 15 mins could've made the third act tighter and more engaging.
As the end credits rolled, I remembered that Valentine's Day arrives in four days. Perhaps Rekha was intended as a cautionary tale for those desperate to get into a relationship to show others that they also "have a line." Tread carefully, young ones.