Mamangam movie Storyline
- Rating: NR
- Genre: Action and Adventure, Drama
- Stars: Mammootty, Unni Mukundan, Achuthan B. Nair |
- Directed By: M. Padmakumar
- Studio: Kavya Film Company
Mamangam film cast: Mammootty, Unni Mukundan, Achuthan, Prachi Tehlan, Siddique
Mamangam film executive: M Padmakumar
Mamangam film rating: 2.5 stars
A film that could have portrayed a fascinating story of self-destructive warriors from Malabar locale during the eighteenth century has ended up being a collection of old school Malayalam stunt scenes, and recoil prompting circumstances and discoursed which cause you to feel like you are viewing a Malayalam sequential.
Mamangam, as the name recommends, recounts to the account of Mamankam celebration, a yearly celebration where the Zamorin ruler moves other provincial realms to restrict his power. Just the self-destructive warriors from Valluvanad area set out to restrict or attempt to topple Zamorin rule each year at the fest. The film centers around the life and destiny of self-destructive warriors from Valluvanad who generally bite the dust battling against the compelling armed force of Zamorin, and is left distinctly with their account of magnificence and boldness. It is viewed as an affront to the warrior group if any of them attempts to escape from the war zone as opposed to bite the dust as a saint.
Mammootty plays Chandroth Valya Panicker, an ace warrior who gets away from the front line subsequent to verging on slaughtering the Zamorin ruler. The film opens with a fight scene where Valya Panicker and a gathering of self-destructive warriors battle the military of Zamorin. Towards the finish of the fight, Valya Panicker escapes from the combat zone, recoloring the Valluvanadan warrior tribe’s notoriety of being bold. Quick forward 24 years, Chandroth Panicker (Unni Mukundan), the new head of Valuvanadan warrior family, chooses to fight once more. The film receives an exaggerated way to deal with show the notions of ladies from the family who need to send their men to the front line, knowing their odds of endurance is distressing. Chandroth Panicker is joined by his nephew Chanthunni, a youthful warrior who is appeared as a wonder simply like Chandroth Valya Panicker. The film at that point movements to a house of ill-repute in Tiruvanvaya where Mamankam occurs. It is here that Mammootty’s character shows up again in the film in a delicate symbol. He meets his family members Chandroth Panicker and Chanthunni who are resolved to face the conflict. Mammootty’s character is depicted as a minister of harmony who cautions his relatives about the fate that anticipates the self-destructive warrior faction. From that point on, it’s a patient hold back to know whether the warriors of Valluvanad can prevail on the combat zone and change their faction’s destiny of affliction.
Mammootty adds Chandroth Valya Panicker to the rundown of authentic characters he attempted in Pazhassi Raja and Vadakkan Veeragadha among additional, yet age is starting to bomb him in the activity arrangements. Mammootty’s ladylike change is unpalatable from the outset, however then the on-screen character figures out how to pull it off without trying too hard. Unni Mukundan conveys the film, all things considered, on his shoulders and certainly resembled a tormented and decided warrior. Prachi Tehlan, Anu Sitara and Kaniha among others don’t have a lot to offer in the film. Music by M Jayachandran is additionally not a huge deal.
Sajeev Pillai, the first screenwriter and chief of Mamangam, was supplanted following conflicts with the film’s maker. Mamangam shows looks at quality which one would anticipate from a screenplay which was very much explored and written by Pillai, at the same time, for the most part, the film neglects to satisfy watchers hopes as it is let somewhere near the unprofessional way to deal with the screenplay and course.