Adjusting an abstract work to the screen is regularly a tightrope stroll. It often involves holding and forgetting about one section or the other. In adjusting Francis Noronha’s unique story Thottapan, which was quite discussed in Malayalam artistic circles, screenwriter P.S. Rafeeque relies upon simply the base story; he goes amiss extensively and even fleshes out irrelevant parts adequately.
Japan (Dileesh Pothan) picks his kindred hoodlum Ithakk (Vinayakan) to be his girl’s ‘Thottappan’, the backup parent. The day preceding her absolution, Jonappan disappears. Ithaka, who till then had dreams of his own, recoils his reality and devotes nearly as long as he can remember to guaranteeing a superior future for Sarah (Priyamvada).
While the core of the first story is how Thottappan shows Sarah the stunts of his exchange and her problem in taking from spots of love, the film nearly moves the whole concentration to the uncommon enthusiastic bond among them. The extended character of Isamu (Roshan Mathew) expedites scope for included dramatization screen.
What Was The Story About and How Did Audience Take It?
Executive Shanavas K. Bavakutty, who made his introduction with Kismath which addressed strict and position issues destroying the lives of two sweethearts, augments his canvas in his subsequent trip, chipping endlessly the harsh edges that were noticeable in his presentation. The islets of Kochi turns into the setting for ‘Thottappan’. Here as well, love in its different structures happens out of sight and frontal area — Thottappan’s lost love, the undiminished love of an old, laid up man and his youth darling who reconnects late throughout everyday life, the uncertain love of the visually impaired retailer Adruman (Raghunath Paleri) towards his young spouse.
Vinayakan’s treatment of his character could without much of a stretch have been his very own reiteration ‘Ganga’ from Kammatipadam since both offer hazardous lives in the edges. In any case, for Thottappan, Vinayakan brings to the table a crisp arrangement of characteristics, making it not quite the same as his past jobs. Priyamvada, who directions as much screen space as him, also makes an imprint.
The dissimilar components and the sub-plots bring alive many significant minutes. However, at last, when everything meets up, it doesn’t shake you enough. Enough for the sort of story, it embarks to tell. It could be because getting into the content while fleshing out the story. It’s similar to the inconsequential and delayed arrangement of Thottappan’s assault on a man who had assaulted local assistance. This falling flat is perceptible since Noronha’s thinking of itself is known for removing the fat.