Review: "Ullozhukku" is a nuanced drama, brilliantly supported by Urvashi and Parvathy.
Review of the film Ullozhukku: The film, directed by Christo Tomy, is an engrossing drama about a wife's moral quandary following her husband's death, as portrayed by Parvathy Thiruvothu.
I've always been attracted by Stephen (Samuel L. Jackson) from Django Unchained. The nuanced figure, a betrayer of his race, illustrates how oppression, in any form, cannot exist without the cooperation and consent of the downtrodden. The image of Jamie Foxx's character Django Freeman riding a horse bothers Stephen. He hates the black bounty hunter who sits with his white masters at the dinner table. Compared to his mentor Monsieur Calvin J Candie (Leonardo DiCaprio), he seems more racist. While Stephen is conscious of his behavior and poses as the ideal slave to maintain control at Calvin's home, debutante filmmaker Christo Tomy's Ullozhukku explores a more nuanced and comparable bond between men and women in maintaining patriarchy, in which the former aren't even
Ullozhukku's plot is comparable to that of Dekalog: Two, a film by Polish director Krzysztof Kieślowski. In the sequel to the cult classic, a helpless wife faces an agonizing moral conundrum regarding her ailing husband. After having an extramarital affair and becoming pregnant, she consults her husband's physician to determine whether or not to keep the child. Anju (Parvathy Thiruvothu) finds herself in a similar situation in Ullozhukku. The woman in the Polish film would have experienced freedom, but in this case, her husband's death does not necessarily grant her that. Due to the fact that the majority of Indian women are married to both their husbands and their families, things are more complicated here. Even upon his passing, the alleged
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