Corona 6 crack1/24/2024 CBI 5 does let Mammootty dominate every scene in which he is present, but it holds back enough to allow the actor’s naturally towering presence to do its job. Whatever CBI 5 ’s errors may be, thankfully it does not go the whole hog on this front with a surfeit of low-angle shots and a raucous signature tune or some tacky quirk for Sethurama Iyer set in the mould of The Great Father, White and some of the other terrible films that the legendary actor has chosen to star in in the past couple of decades. It can be exasperating to watch a film leaning too obviously on Mammootty’s larger-than-life personality to get by. Anoop Menon gets far more to chew on in the script, but is unable to handle it. To see Soubin misfire after so many back-to-back bull’s-eyes, including most recently in Bheeshma Parvam, is disappointing. The effort to keep Soubin Shahir’s character intriguing and intimidating has the reverse effect – the screenplay is trying too hard with him, and so is the actor. The Kerala State Award winner Swasika, for instance, is given a minor, under-explored role. The cast of CBI 5: The Brain consists of many artistes with a solid track record, but they are either wasted here or left to struggle with inadequate writing. It has been 17 years since the fourth film was made, and a whole new generation of movie-goers are now visiting theatres, so it makes no sense to leave such a major portion of the film dependent on the public’s memory of Parts 1-4. Unless you have seen the previous CBI instalments, the jestful tone even in his introductory scene is inexplicable. It falls flat, though, in the jocular treatment of the recurring character Sathyadas (Saikumar). The reliance on nostalgia works in the scene featuring Jagathy Sreekumar because it is poignant irrespective of whether you have watched the earlier films or know of the actor’s medical condition in recent years. ĬBI 5 ’s impressively mounted opening credits may hold greater meaning for those who have been following the series, but even for those who have not, they serve as a reminder that this is a legacy film. This is a far cry from the extreme sensitivity and awareness of mental well-being that Malayalam cinema has shown in recent years in a range of films including, perhaps most prominently, Kumbalangi Nights and #Home. When the climactic revelation is made, the casualness towards mental health is off-putting. After a while though, it becomes too convoluted, too crowded with people and twists, and towards the end, those twists are too contrived to be convincing. Sethurama Iyer’s trademark meticulousness remains, and for the first half, CBI 5 ’s plot offers a fair share of suspense. This is ironic because a low pitch would have ended up echoing the middle-of-the-road slice-of-life new Malayalam New Wave that has been winning over audiences in Kerala for the past decade or so, and increasingly now outside Kerala too. Instead of staying true to the original’s tone, CBI 5 throws bombastic and stilted lines into the mix in what appears to be a misplaced attempt at contemporisation.
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