If there was ever a film hurt by terrible marketing and the title, it has to be Sundarakilladi. I still haven't met a single person who watched this film in a theatre in November 1998. It's also true that I haven't met many Malayalam film lovers who haven't watched this film when it started airing on TV. Dileep may not have been a big star then, but Shalini was one, post Aniyathipravu, and Sundarakilladi, written and produced by Fazil, should have certainly fared better.

I remember seeing the film's posters, wondering why all of them looked like they were from the film's songs. The title didn't help either. The "Khiladi" suffix was usually associated with Akshay Kumar's action films but this didn't look like an action movie at all. All one could make out was that it was going to be a love story. This is important because the film demands a certain mindset from viewers. It wasn't just another love story, it was also a fantasy. In a sense, one needed to go for this movie expecting an experience that was akin to reading an Amar Chitra Katha comic.


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Sundarakilladi was set in its own anachronistic universe. Is it a period film? Both yes and no. The film is predominantly set in a fictional fantastical village, ironically named Swapnabhoomi. Dialogues in the film suggest how the building of a dam stopped the flow of a tributary towards this village, resulting in a drought. Electricity and roads haven't yet reached here, and apart from glimpses of a camera, there's no saying what decade the film is set in.

Considering the huge amount of rainfall Kerala receives every year, this bit of world building was necessary, because, at its core, it is a film about water scarcity and a village's desperation to build a well before it runs out of water. 'Killadi' in the film's imaginary world, is a term given to a family of gifted well diggers. Premachandra Sundarakilladi, the character played by Dileep, is the 'chosen one', the last remaining male member of this family. When a group of villagers from Swapnabhoomi approaches Premachandran to dig a well for them, he resists, but agrees when they agree to pay him 10 times more than the going rate.

Watching the film again today, you realise why the film remains so clear in memory, after all these years. Of course, it has not aged too well, look-wise. Come to think of it now, the film's aesthetic seems to have been completely based on the 'Mannan Thelinje Ninnaal' song from Priyadarshan's Thenmavin Kombathu, another fantasy. The songs, though wonderfully composed by Ousepachan after Aniyathipravu, are more than generously borrowed. The film's opening credits song, for instance, sounds a lot like a premature version of the composer's own 'Azhake', which he went on to create for Lohithadas' Kasthuriman. 'Thappum Thatti', sung by the composer himself, sounds eerily similar to Vishal Bhardwaj's classic 'Chappa Chappa Charka Chale'. One can also easily find the entire melody of Titanic's OST in the film's hit song 'Madham Pularumbol'. be457b7860

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