Oru Yaathrayude Anthyam

<p>VKV sets out for an overnight journey to meet his friend Abraham following the receipt of a telegram from Abraham’s side. Perplexed on why such a telegram was sent instead of a letter, VKV recounts their relationship and how they inspired each other, throughout the journey. The journey focuses on the lives of fellow travelers also. An NRI in the bus, a wedding party etc. At the fag end of the journey, VKV sees the man sitting next to him, bride’s father die. VKV reaches his destination only to find Abraham’s dead body. Abraham’s daughter tells VKV that her father was waiting for him on his dead bed and said VKV would be travelling in bus and will see him die while travelling. VKV gets shocked. Abraham in one of their old discussions had said life is a repetition of the set of same images, though the characters essentially only the people change. For Arjun Anand wrote, is the most simplest film of the writer, it almost feels like a stretched out slice-of-life episode. But the filmmaking is quietly engaging. Death is a very melodramatic subject. If his contemporaries, Padmarajan in his , Lohithadas in or Dennis Joseph in among others, treated death and grief with melodrama and exuberant poignance, KG George’s take on the subject―just like any other work of his―is subdued, objective and intellectual. The profoundness in his writing is not literary like MT/Lohi, it’s rather rational. Writing his tribute to , Sajesh Mohan of wrote In , George trains the camera on actor Murali’s face for an extended period, yet it never fails to captivate the viewers. That’s the confidence they both had in their craft and in each other. The filmmaker maintains this rhythm until the writer’s journey culminates beside the mortal remains of his mentor. George maintained this rhythm in all his films, even when they varied in genre. The bold filmmaker had immense confidence in his actors, technicians, and himself. And that’s what makes his films stay fresh even after years.</p>