Cast: Dileep, Kavya Madhavan, Nedumudi Venu and Vijayaraghavan
Direction: Adoor Gopalakrishnan
As far back as the declaration of Pinneyum, the film has been all the rage for two principle reasons – one, that it denote the arrival of Adoor as a producer in the wake of eight prolonged years; and two, that Pinneyum reunites Mollywood's hit pair on-screen characters Dileep and Kavya Madhavan on screen after Vellari Pravinte Changathi (2011).
Set against a pleasant Kerala, Pinneyum depends on the defenselessness of the contemporary white collar class family attributable to eagerness – a human instinct that structures the foundation of our general public. It is likewise a glaring case of how one lives just on the terms of the general public.
Pinneyum opens to the passing of a unidentified man in his 40s. Much the same as the police, the group of onlookers is left with the conspicuous inquiry of the man's personality, which is later uncovered in a fairly expected plot. The camera then slices to a nearby up of the serene face of Purushothaman Nair (Dileep), who has been a casualty of unemployment for eight long years. Hailing from a common white collar class family, Purushothaman's bread and spread originate from his better half Devi (Kavya Madhavan), who's an educator by calling. He has a spouse and a little girl, and Purushothaman faces the lowness of unemployment notwithstanding an establishing in Economics. Purushothaman gets himself a spot on the planet when he gets a vocation offer from the Gulf. Having been chomped by the surge development, things deteriorate when voracity devours Purushothaman, and a worthless arrangement prompts a tragic unforeseen development.
For what appeared like an encouraging family dramatization in the principal half of the film, Pinneyum floats totally from its course and winds up as an unremarkable film. Pinneyum keeps running for two hours, a fortunately short run-time.
Adoor, who has the talent of changing a natively constructed story into bad-to-the-bone one, needs it in Pinneyum. Thus, the story slacks in the second half. Adoor's treatment of exchanges and screenplay is naive to the point that one wouldn't in any way, shape or form expect this from the father of parallel film.
One could sense Adoor Gopalakrishnan's hatred over the Western filmmaking in the humorous scene when Purushothaman's dad in-law (performer Nedumudi Venu) says, "Rather than perusing Agatha Christie and Sherlock Holmes, why not read criminologist books in our vernacular? It isn't so much that we don't have extraordinary writers."
At the point when Purushothaman leaves for the Gulf, Devi's feelings of dimness and hopelessness are gracefully passed on utilizing the downpour as an illustration.
In any case, these are minutes in the film that can be savored for a constrained period. While performer Dileep is known for his rib-tickling humorous parts, Adoor has given another measurement to his character in the film. Be that as it may, it feels as though Dileep's part in the film is a greater amount of a broadened cameo for one who has no follow in the second half until the peak.
In a meeting, Adoor Gopalakrishnan said that Kavya Madhavan's part is by a long shot the best female character he has written in his vocation. In spite of the fact that Pinneyum exclusively lies on Kavya's character, the core of the story is simply dull. All that 'Ravenousness will make you go off to some far away place' is defended by the pre-climactic scene with Kavya.
The soundtrack made by Bijibal is feel-great, however isn't uncommon like the chief's Elippathayam (1981) or Mukhamukham (1984).
As Pinneyum imprints the trailblazing executive's first computerized film; possibly Adoor ought to have gone the conventional way, perhaps something has been lost between the move from pen to paper which makes it a common film.
Adoor Gopalakrishnan's rebound film is unavoidably reminiscent of that of another Dadasaheb Phalke awardee, Tamil movie producer K Balachander, whose rebound film too had fallen level.
In spite of the fact that Adoor is ready to take care of business with Pinneyum, the absence of a strong screenplay renders the film mindless.