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Aadujeevitham – A Goat like Life – Must Read

The book is called “Aadujeevitham” by Benyamin which is translated to English as ‘Goatlife’, or more clearly “A Goat like life”. I am not sure how many of the people who regularly read my blog has had a chance to work amidst the desert sand dunes in the Middle Eastern oil rich countries.

They would be able to better relate to this book and for those who have not worked there, it would be a sure eye opener in terms of how life, freedom and existence are defined, executed by a set of unrealistic hands made by both fate and law.

I have had a part of my schooling as well as the opportunity to work there for two years and my home state in India has a good number of people who work in the Middle Eastern countries ranging from laborers, house servants, construction workers, teachers, doctors, engineers and business tycoons. Among them also are found the characters of “Aadujeevitham” who get into a job they never really understand how they landed and before they know the desert would have washed clean any traces of past life in them.

Nowhere in life have I found such a disparity among immigrant population, people with the power to dictate life to people who can’t even decide if they are free or enslaved. Such a vast gulf between the standards of work and life of people coming to work from the same state itself is an area worth exploring.

I have not come across people in the exact similar state of affairs as the central character in the book, but people whose stories converge with the book in many areas. People I met in early eighties as a school boy in these places and then in the 90s when I went to work there. I take this post to also thank my work sponsor/company or “Arbab or savior” as they call, who did not keep my passport and I had the freedom to travel. Many who read this should understand that even in large companies, they had this system of taking the passport of every employee and then having control over their fate and freedom. I am not sure if it is like this even now. I still cannot fathom how someone in a country can hold the passports of the citizen of another country when the passport is the property of a nation and not its citizen. But some places rules are different and many live with it.

I personally know of people who have stories to say about not being able to leave the country to escape from harsh job conditions to get back to their own soil ready to live poor, but yet free and happy. Aadujeevitham is a true story of someone who went through much harsh situations than what I have ever heard before and it opens the box with a million questions on what does being a human mean to us and how are we different compared to that of the goats and other slaughter animals.

Though not religious myself, I found it interesting to see the central characters calling out to god almighty all through the book, not even once deflecting from his faith. I don’t know if there is someone who saves and punishes, but in the book I could see that if he did not have someone to call even in his imagination, he would have lost all his sanity. I think the belief in something has a big part to play in keeping the balance and sanity of life. People need God, philosophy, spirituality, conviction, love or something like that, something that would be at least an imaginary handle that they can hold and tie your mind to. I would highly recommend this book to anyone who has not read and for those who have read, a request to not take life for granted any more…..

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21 thoughts on “ aadujeevitham – a goat like life – must read ”.

Is this book translated into English?

It is a pretty popular book in malayalam and if it is not translated yet, it will be soon.

Hi people if am not wrong I think the caption should have been “A LIFE LIKE A GOAT”……..

Anu, When translating a malayalam sentence to english it could have more than one way of saying. Aadine poloru jeevitham could be A life like a Goat as you said, because you have the exact translation for the word ‘poloru’ in ‘like’. Here the idea was to mimic the usage ‘doglike’ which means like a dog So Goatlike  would mean like a goat 🙂

no words to say Benyamin…Thanks a lot for given a wornderfull reading experince for us……

Happy to hear you like it hareesh

exactly agree to what you said.. i am just a school student and this book has made my mind wander a lot in the deserts with those people.

Thanks Gayathri, Happy to hear that as a school student you are reading such books that go so deep into life…

I like this story..

In fact I just saw the guy who went through life in Saudi desert. I haven’t spoken to him. I want to know more about this guys story so that I call help him in any way. I feel awakard to ask this guy about his past life. Is this book available in English or in Tamil?

manassil thattiya katha. I feel it.

Its superb novel………………………..i am a school student, and as a part of my studies i hve got chance to read dis novel…………………. A supr ,,,,novel which penatrates to our life and mind………………

The person who went through this ordeal is still alive and I see him every other day. People like him should be rewarded and appreciated.

Have heard that too….

IT IS THE BEST STORY EVER

It is a true life portrayed with utmost clarity and crispness….

its very. . . Much atractive story. . .narated real . . , .life desert of people. . Who reaches. . . Gulf countries. . . , .grt

i feel it….ever read dis type novel..

Good one……………..I read this novel accidentally. Thanks Benyamin.

super story i like it,,,,,

WHAT A STORY ………..HATS OFF YOU….MR.BENYAMIN…., NAJEEB

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Aadujeevitham Malayalam Movie

The subject matter of the renowned novel "Aadujeevitham" is not unfamiliar to us. Adapting a popular book into a visual medium presents a daunting challenge, yet writer-director Blessy successfully transcends the imaginative boundaries of its readers with his cinematic expertise. In "Aadujeevitham - The Goat Life," Blessy's remarkable visual acumen and craftsmanship take center stage, profoundly impacting the novel's on-screen adaptation. Despite the plot being rife with hardships and pathos, Blessy's aesthetic approach imbues the narrative with an unexpected beauty, poignantly depicting the desperate existence of a Keralite in the harsh deserts of the Middle East.

Based on author Benyamin's novel, which draws from the real-life experiences of Najeeb Muhammed from Karuvatta, Alappuzha, the story follows Najeeb's unparalleled struggles in the desert after falling victim to a visa fraud. Portrayed by Prithviraj Sukumaran with stunning realism, Najeeb becomes disconnected from the outside world, living as a shepherd in the remote reaches of the desert for years. Alongside him is Hakeem, played by KR Gokul, and Najeeb's pregnant wife Sainu, portrayed by Amala Paul, and his mother (Sobha Mohan) back home, all hoping to forge a new life in the Gulf country.

However, Najeeb finds himself relegated to a life of hardship and isolation, tending sheep under the ruthless rule of his boss, played by Omani actor Dr. Talib al Balushi, and facing the constant threat of starvation. Emotionally shattered and alienated, Najeeb loses hope of ever returning to normalcy until he finds a glimmer of hope with the assistance of an African citizen, Ibrahim Khadiri (Jimmy Jean-Louis).

Prithviraj's transformative portrayal and nuanced performance as Najeeb resonate deeply with viewers, capturing the character's physical and emotional journey with remarkable authenticity and dedication. His ability to convey Najeeb's despair and anguish without resorting to melodrama or artificiality is particularly commendable, underscoring his status as a formidable talent in the industry. Gokul also leaves a lasting impression, particularly in the film's emotionally charged latter half.

Blessy's cinematic interpretation, coupled with Benyamin's evocative prose, creates a vivid depiction of Najeeb's harrowing desert odyssey. A.R. Rahman's soulful music further enhances the emotional depth of the narrative, while Resul Pookutty's impeccable sound design adds to the immersive experience. Visually, Sunil KS's captivating cinematography captures the barren landscapes of the desert, mirroring Najeeb's internal struggles and serving as a metaphor for his state of mind.

In summary, "Aadujeevitham" stands as a testament to the resilience of the human spirit in the face of adversity, with Blessy's poetic direction and Prithviraj's compelling performance elevating it to a cinematic masterpiece. Disturbing yet poignant, the film resonates with audiences, evoking memories of personal struggles and the universal quest for hope and redemption on foreign soil.

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'Aadujeevitham' review: Behold, a classic

'Aadujeevitham' demands to be watched in all its grandeur on the big screen

When do we classify a film as a 'classic'? Is it a label reserved for works that transcend the constraints of time and space, leaving an indelible mark on the collective consciousness of cinema enthusiasts? Is it a film that reflects social, political, and cultural zeitgeist with remarkable authenticity while simultaneously exploring universal truths that resonate across cultures? Does it reshape the very trajectory of filmmaking, leaving an enduring imprint on the art form itself? Is it a film that captivates audiences with its artistic brilliance, cultural significance, and enduring resonance? Is it a film that captivates audiences with its artistic brilliance, cultural significance, and lasting resonance, while also delivering an impeccable technical experience? Blessy’s  Aadujeevitham  (The Goatlife) undoubtedly earns its place as a classic in Indian cinema, embodying near-perfect filmmaking that meets all the criteria for this esteemed label.

The mass migration of skilled and unskilled labourers from Kerala to Gulf states began in the early 1970s. Many of these migrants relied on bank loans, assistance from friends and family, and the liquidation of assets to finance their journey to various Gulf countries.  Aadujeevitham  follows the journey of two such unskilled migrant laborers—Najeeb Mohammed (Prithviraj Sukumaran) and Hakeem (K.R. Gokul)—who wish to secure promising jobs and a better life for their families in the early 1990s. Little did they anticipate the harsh reality awaiting them: working under a cruel Arab man, tending goats and camels across the desert.

The Kafala system, a legal framework established in the 1950s, governs the employment of foreign migrant labourers in Saudi Arabia and numerous other Gulf states. However, evidence suggests that this system has perpetuated exploitation, slavery, dismal living conditions, and meager wages for migrant workers. The crux of the issue lies in the migrant labourers’ legal dependence on a single sponsor or employer for their right to live and work in the Gulf countries. Historically, the Kafala system has bound labourers to abusive sponsors, denying them the ability to transfer employment when faced with exploitation.  Aadujeevitham  emerges as arguably the most poignant indictment of this oppressive system ever depicted in world cinema. Incidentally, this sensitive film faces censorship hurdles in most GCC countries, with the exception of the UAE.

Despite its bold stance against labour abuses, exploitation, and racial discrimination, the film subtly weaves these themes into its narrative backdrop. Blessy masterfully immerses the audience in the physical and psychological traumas endured by Najeeb, as well as his long journey to survival.

Prior to the film's release, Blessy remarked that without Prithviraj , the project would not have been feasible. Prithviraj Sukumaran, who is among the most stylish actors in Malayalam cinema, wholeheartedly surrendered his body to Blessy's vision to bring Najeeb to life. The result is remarkable, as except for a few instances in flashback scenes, Prithviraj virtually disappears, allowing Najeeb and his arduous trail to command the screen entirely. 

National award-winning editor A. Sreekar Prasad, along with cinematographer Sunil K.S., deserves commendation on par with Prithviraj for their contributions in realising Blessy’s vision to a world-class standard. The filmmaker skilfully draws parallels between the two worlds in which Najeeb has lived throughout his life. Prasad’s editing seamlessly blends these contrasting realms, prompting the audience to question things often taken for granted in our own land, within the confines of our homes. In the hands of Blessy, the desert becomes not just a backdrop but a character in its own right. The vast and unforgiving beauty as well as the terrors of the desert landscape is skilfully captured in  Aadujeevitham . Sunil K.S. 's lens transforms the seemingly barren expanse into a breathtaking canvas of shifting sands and endless horizons, where every grain tells a story of resilience and survival. Through meticulous framing and evocative lighting, the desert scenes pulsate with a palpable sense of isolation and longing, echoing Najeeb's internal struggles and external challenges.

Jointly produced by Visual Romance Image Makers, Jet Media Production and Alta Global Media, Amala Paul, Haitian actor and producer Jimmy Jean-Louis and Omani actor Talib Al Balushi form the important supporting cast in the film. Talib Al Balushi delivers an incredible performance as the cruel ‘Khafeel’ of Najeeb. 

A.R. Rahman did the music for the film. The tracks 'Periyone Rahmane' and the Palestinian folk song 'Badaweih' are intelligently placed in the film. While the background score generally meets expectations, this reviewer notes that certain segments, particularly those portraying moments of hope by the end of the film, lack the emotional resonance one would expect. Nevertheless, these minor shortcomings are easily forgiven in light of the overall scale and craftsmanship with which Blessy delivers this film.

Hardcore fans of Benyamin’s novel may notice that certain episodes with significant shock value have been omitted from the film. Some may argue that this detracts from the depth of the narrative compared to the source material. However, this reviewer believes that the novel and the film should be regarded as distinct works, diverging at times in its narrative but ultimately converging at crucial points in the story. Undoubtedly, much like the novel, which sheds light on the lives crushed under the exploitative Kafala system, this film also serves justice to its portrayal.

Blessy devoted 16 years to sculpting this visual masterpiece, meticulously tailored for the theatrical experience.  Aadujeevitham  demands to be watched in all its grandeur on the big screen.

Movie: Aadujeevitham

Directed by: Blessy

Starring: Prithviraj Sukumaran, Amala Paul, Jimmy Jean-Louis, Talib Al Balushi

Rating: 4.5/5

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Aadujeevitham: All eyes on Prithviraj as he embarks on a career-defining, no-holds-barred battle with himself

For the actor, aadujeevitham is the most challenging film he has taken on thus far, primarily because his character najeeb lies far beyond his usual comfort zone and the 'prithviraj template'..

As director Blessy’s survival drama Aadujeevitham (The Goat Life) gears up for its release on March 28, expectations for the film are soaring. The promotional materials released so far suggest that it will offer an exceptional cinematic experience and will be a faithful adaptation of one of Malayalam’s most compelling survival tales. Yet, despite the impressive lineup of skilled technicians, including composer AR Rahman and sound designer Resul Pookutty, all attention is rightly focused on actor Prithviraj Sukumaran to see how convincingly he portrays Najeeb Muhammad , the real-life person on whose experiences writer Benyamin’s 2008 novel is based.

For Prithviraj, Aadujeevitham is the most challenging film he has taken on thus far, not just due to the necessity of undergoing significant physical transformations multiple times, but primarily because his character Najeeb lies far beyond his usual comfort zone. Najeeb embodies emotions and life experiences entirely distinct from any previous role Prithviraj has undertaken and experienced in real life, thus making Aadujeevitham the most significant film in his career.

At the same time, for the actor, whose performances have always been met with polarised responses, Aadujeevitham is also probably a once-in-a-lifetime opportunity to finally showcase his versatility beyond the roles for which he is known — muscular and macho characters who appear perpetually tense and intense, with a rigid demeanour, seeming emotionless on the surface, and delivering all lines in the same cold manner. For starters, Najeeb is a vulnerable man with no superhuman capabilities, hailing from a rural area in Kerala with no privileges whatsoever, and the novel/movie explores only a certain period in his life that spans almost three and a half years when he was thrust into slavery in a Saudi Arabian goat farm. (Assuming that the film won’t deviate significantly from the base material) There will be no action sequences, punch dialogues, or other heroic moments that are usually employed to pander to the stardom and fandom of an A-lister actor.

On the bright side, the movie will extensively explore the lengths and breadths of Prithviraj as an actor and provide him with ample opportunities to exhibit how well he can handle characters with complex emotions as Najeeb, who went on an emotional roller coaster, often torn between resilience and surrender.

The ‘Prithviraj template’

Since the beginning of his career, Prithviraj has un/intentionally gravitated towards characters fitting the archetype of muscular, cold men and his occasional forays into roles rich with emotion have frequently fallen short of recognition or failed, due to his limitations as an actor, notably his struggle to effectively convey deep feelings. Many of his performances, even those depicting characters facing significant life challenges, have exhibited striking similarities in body language and demeanour.

As a definitive product of nepotism, Prithviraj entered the film industry solely because of his surname, Sukumaran, inherited from his father, who was part of Malayalam cinema’s then-superstar trio in the 80s, predating the era of Mammootty and Mohanlal . As horrendous as the movie was (and a box office flop too), his first released film, Rajasenan’s Nakshathrakkannulla Rajakumaran Avanundoru Rajakumari (2002), also exposed his inadequacy in comedy. However, Prithviraj found his footing with the release of his second film, AK Sajan’s Stop Violence (2002), which also marked the inception of what would become the ‘Prithviraj template’ characterised by the aforementioned ultramacho, cold traits, as seen in his portrayal of the ruthless gangster Saathaan.

Although Ranjith’s Nandanam (2002), the first film that Prithviraj acted in which was unfortunately released only after NRAR and Stop Violence, achieved success and explored the actor in him in a better, more nuanced, way, the perception that he was better suited for roles like Saathaan had already taken hold. And, filmmakers began approaching him with similar characters, albeit with minimal variations primarily in their socio-economic or geographical backgrounds.

The new ‘angry young man’ in town

Thus, as his contemporaries like Kunchacko Boban and Jayasurya mainly focused on romantic and comedic roles, and his brother Indrajith Sukumaran, despite tackling a variety of characters, did not receive the break he deserved, Prithviraj was crowned the unofficial ‘angry young man’ of Malayalam cinema in the 2000s. His subsequent films such as Meerayude Dukhavum Muthuvinte Swapnavum, Chakram, Vellinakshatram, Sathyam, Krithyam and Police underscored the same. However, movies like Vellithira and Swapnakoodu offered him some relief as they featured better romantic and comedic scenes, subtly pushing his boundaries without making it seem forced. Santosh Sivan’s Ananthabhadram, on the other hand, garnered him more recognition as he rivalled a seasoned actor like Manoj K Jayan in the latter’s career-best performance.

In 2006, his position in the industry was further solidified, and the ‘Prithviraj template’ began getting normalised, earning him more praise, recognition and better revenue at the box office. In that one year, at the age of 24, he delivered three remarkable performances, in characters that seemed tailor-made for him aligning perfectly with his abilities and limitations. Lal Jose’s Classmates emerged as one of the biggest hits of the decade, while Prithviraj earned his first Kerala State Film Award for Best Actor for his portrayal in M Padmakumar’s Vaasthavam. Despite Padmakumar’s other film Vargam not achieving notable acclaim, Prithviraj’s performance as a ruthless, corrupt cop with several shades of grey marked a significant milestone in his acting career.

Attempts at romantic, comedic roles

Simultaneously, the actor also ventured into the Tamil industry, where he found roles distinctly different from those in Malayalam cinema, portraying romantic hero characters with comedic moments. While Malayalam films like Avan Chandiyude Makan and Chocolate pigeonholed him into the ‘angry young man’ archetype, and occasional distinct roles like the ones in Kangaroo and One Way Ticket failed to yield significant results, his performances in Tamil films like Parijatham, Mozhi and Abhiyum Naanum endeared him to audiences there as the chocolate boy next door. Despite this success, the crowded Tamil industry limited his opportunities, prompting him to wisely avoid overstaying his welcome.

By then, the ‘Prithviraj template’ had become so ingrained that his characters began to appear eerily indistinguishable, with only variances in attire setting them apart in Nammal Thammil, Puthiya Mukham, Robin Hood, Thanthonni and Pokkiri Raja; and, Amal Neerad’s Anwar (2010) epitomised this template.

Meanwhile, known for his introverted yet outspoken nature, his candid remarks in interviews around that time garnered him infamy as he made several remarks deemed “irreverent”. This led many to draw parallels between his on-screen characters and his real-life persona, concluding that he had merely been playing himself until then.

Despite his decent improvement as an actor in 2011, showcased in diverse roles in films like Urumi, City of God, Manikiakkallu, Veettilekulla Vazhi and Indian Rupee, his perceived “arrogance” hindered him from receiving the recognition he deserved, though a couple of the films enjoyed success at the box office.

Meanwhile, his role in Mani Ratnam’s Raavanan (2010) presented new opportunities for him and Prithviraj ventured into Bollywood with Aiyyaa (2012), although his stint there was brief at the time. Concurrently, his film choices in Malayalam cinema were on the decline, leading many to cynically suggest it was a form of “payback” for his “arrogance”.

Ayalum Njanum Thammil

However, Prithviraj staged a remarkable comeback towards the end of 2012, stunning audiences with his exceptional performance in Lal Jose’s medical drama Ayalum Njanum Thammil which proved he was more than just muscles. With remarkable finesse and captivating command, Prithviraj portrayed the intricate layers and emotional fluctuations of a cardiac surgeon with precision. He followed this success with three films in 2013, including Celluloid, which (along with Ayalum Njanum Thammil) earned him his second State Award for Best Actor. While his performances in Mumbai Police and Memories shared similarities, the brilliance of the films and the essence of the characters, again seemingly tailored for him, resonated deeply with audiences, garnering significant praise. Meanwhile, his performance in Kaaviya Thalaivan (2014) earned him the Tamil Nadu State Film Award for Best Villain too.

Regrettably, the consecutive successes of Mumbai Police and Memories also marked the resurgence of the ‘Prithviraj template’, more prominent than ever. From 7th Day, Ivide, James & Alice, Oozham , Ezra and Tiyaan to Adam Joan , Ranam , 9 , Lucifer (his own directorial), Cold Case , Kuruthi , Jana Gana Mana , Kaduva , Theerppu , Kaapa and Salaar: Part 1 – Ceasefire , his performances adhered to the familiar style — perpetually tense and intense, with a rigid demeanour, seeming emotionless on the surface, and delivering all lines in the same cold manner.

Even his portrayals in emotionally nuanced characters like those in Picket 43, Ennu Ninte Moideen, Anarkali, Darvinte Parinamam, Vimaanam and Koode , as well as comedic roles in Sapthamashree Thaskaraha, Paavada, Brother’s Day , Bro Daddy and Gold were either haunted by the ghosts of the template and his comfort zone or fell short of expectations.

Meanwhile, his collaboration with writer-director Sachy in Driving Licence (2019) and Ayyappanum Koshiyum (2020) offered a glimmer of hope for the actor, as Sachy seemed to have smashed the template and understood how to draw out better performances from him, encapsulating various human emotions and expressions. Unfortunately, this hope was short-lived due to Sachy’s sudden demise after the release of Ayyappanum Koshiyum, plunging him back into the abyss.

It’s time for Prithviraj vs Prithviraj

Thence, Aadujeevitham presents an opportunity for the actor to resurrect his career and prove himself, with the character of Najeeb offering numerous challenges and chances for a stellar performance. Going by the novel, Prithviraj will be the only character on-screen for a considerable time, stripping away the luxury of relying on co-stars for the action-reaction technique and forcing him to depend on himself and his surroundings for stimuli. As daunting as this may seem, it also opens doors of possibility for him to explore himself as the character is everything unlike him, coupled with being helpless and vulnerable, which will aid Prithviraj in delivering a performance untouched by his own true self, a feat he hasn’t achieved till now.

Set in a terrain harsh and unfamiliar, wherein Najeeb experienced a tumultuous journey both physically and emotionally, Aadujeevitham offers Prithviraj the chance to join the ranks of the greatest. As he embarks on a career-defining, no-holds-barred war against himself (and his limitations), one can only wait in anticipation to witness how he tackles the central character in one of Malayalam literature’s most beloved survival sagas.

Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at [email protected]. ... Read More

• Aadujeevitham
• Cinema Anatomy
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• Malayalam film industry
• Prithviraj Sukumaran

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Aadujeevitham Review | Prithviraj stars in an intense tale of survival

Najeeb's story of survival, his epic struggle against the brutal fate that pushed him into the remotest corners of the world, has become part of the Malayali's literary lore. The long wait cinematic portrayal of that brutal struggle ended today. And Blessy has not let his followers down.

Blessy, who has always crafted relatable, yet ruptured characters, focused on the plight of Najeeb, by evocatively portraying the loneliness of the vast desert and the ruthlessness of his Arab employer. The movie begins with a healthy-looking Najeeb, played by Prithviraj, and his young friend Hakeem reaching Saudi Arabia to start a better life.

The Arbab (master in Arabic), a rough, unkempt, merciless man, steals them away to the desert in the middle of the night. Though the hardships in the journey may have not been described as vividly as in the book, we are introduced to the loneliness and the pain of the young men very early in the movie.

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Blessy's challenge lies mostly in telling a story of a tormented man in the desert surrounded only by goats and camels and vast expanses of sand. But he manages to keep it lively through Najeeb's fond memories of his hometown and his beloved wife Sainu, played by Amala Paul.

However, this technique affects the film at times, especially since the viewer is yet to get invested fully in Najeeb's hardships in the desert. Blessy's penchant for telling tales of hardship finds true life in the second half of the film, with the focus largely on the escape. The languid, long shots of two desperate men running through the desert, accompanied by A R Rahman's beautiful music, capture the essence of what Aadujeevitham truly is. It is in these moments that you understand the greatness of Sunil K S's frames. They drive home a loneliness that is truly too hard to digest.

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The locations chosen by the filmmakers capture the mood of the story well. If the Wadi Rum aka the Valley of Moon depicts the emptiness of Najeeb's soul, the greenery and lakes surrounding Najeeb's hometown in Arattapuzha essentially portrays his happiness and contentment. Prithviraj who has appeared in several romantic and intense dramas, including 'Ayalum Nyanum Thammil' and 'Ennu Ninte Moideen' plays a loving husband to Sainu with conviction, yet it is Amala Paul who wins our hearts with her coy, bubbly portrayal of a woman in love.

As Najeeb, Prithviraj leaves you astounded at times. There are some scenes that lend him the opportunity to portray his brilliance as an actor, which he utilises effectively. His physical transformation is notable. Gokul who played Hakeem and Jimmy Jean Louis who essayed Khalid Khadiri deserve praise for their remarkable performances in the film, crafted well by Blessy.

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Aadujeevitham: Who is Najeeb? Here's the real life story of Najeeb to be portrayed by Prithviraj Sukumaran in the film

I n the heart-wrenching tale of survival and resilience, Najeeb's journey in the forthcoming Prithviraj Sukumaran-starrer Malayalam film  Aadujeevitham , whose English title is The Goat Life , unveils the harrowing realities of exploitation and captivity.

Who is Najeeb?

Najeeb, a labourer from Aarattupuzha village in Haripad, Alappuzha, found himself at a crossroads in 1993. With his wife eight months pregnant and dreams of a promising job in Saudi Arabia, Najeeb embarked on a journey that would shatter his aspirations and plunge him into a world of despair.

The tragic turn of events

Deceived upon arrival in Saudi Arabia, Najeeb's hopes were dashed as he found himself stranded in a desolate village, surrounded by endless sand dunes and herds of goats. Subjected to relentless exploitation by his Arbab, Najeeb's existence became a haunting tale of captivity and abuse.

Amid the barren landscape, Najeeb endured unimaginable hardships, deprived of basic necessities and forced to survive on meagre rations tainted by the stench of unwashed goats. His plight worsened under the cruel treatment of his Arbab, leaving him feeling more like a goat than a man.

The brave escape

After enduring two years of torment, Najeeb seized a fleeting opportunity for escape when his Arbab departed for a family event. Fleeing for his life, Najeeb embarked on a perilous journey through the desert, facing dehydration and exhaustion along the way.

Despite the immense challenges, Najeeb's perseverance paid off when he encountered a compassionate Arab who aided his journey to safety. Though his ordeal didn't end there, Najeeb's eventual deportation back to Kerala marked the end of his agonising captivity in the desert.

A story of resilience

Thanks to Benyamin, the author of Goat Days  (2008), Najeeb's extraordinary saga came to light, shedding a spotlight on his remarkable resilience in the face of adversity. Now, with Blessy and Prithviraj's film adaptation on the horizon, Najeeb's story is set to captivate audiences worldwide, offering a glimpse into the indomitable human spirit and the power of hope in the darkest of times.

More about Aadujeevitham

Aadujeevitham stands as a monumental achievement in the Malayalam film industry, shot across multiple countries to deliver a cinematic experience of unparalleled grandeur. Although the film commenced production long ago, the onset of the pandemic halted its progress momentarily. However, this setback only served to elevate the film's production standards, acting prowess of the cast, storytelling, and overall craftsmanship to greater heights.

Featuring a stellar ensemble cast including Jimmy Jean-Louis, Amala Paul, Gokul, Talib al Balushi, and Rik Aby, Aadujeevitham promises a captivating narrative brought to life by seasoned performers. Adding to its allure, the film boasts music direction by Academy Award winner AR Rahman and sound design by another Academy Award winner, Resul Pookutty.

As anticipation builds, Aadujeevitham  is poised for a grand theatrical release in five languages: Hindi, Malayalam, Tamil, Telugu, and Kannada, ensuring that audiences across diverse regions can immerse themselves in what is touted to be a cinematic masterpiece.

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Aadujeevitham By Benyamin

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Aadujeevitham Tentative OTT Release Date Confirmed

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Aadujeevitham , directed by Blessy, is about to embark on its digital journey after a successful theatrical run. The film achieved significant box office success and earned the title of highest-grossing Malayalam film of all time. Recent reports indicate that audiences will get to experience it soon on OTT.

Adapted from the novel by Benyamin, Aadujeevitham is based on a true story . Notably, the book was banned in Khaleeji nations other than the UAE, leading to the movie being banned in those countries. Moreover, it took the film almost 15 years to hit the big screen since Blessy first read the story in 2008.

The film boasts a stellar cast, including Prithviraj Sukumaran, Jimmy Jean-Louis, and K. R. Gokul in lead roles, with Talib Al Balushi, Rik Aby, Amala Paul, and Shobha Mohan in supporting roles. Released on March 28, 2024 , with a budget of $9.6 million, Aadujeevitham grossed over $18.7 million worldwide.

When is Prithviraj Sukumaran’s Aadujeevitham coming out on OTT?

Recent reports from 123Telugu suggest that Aadujeevitham is expected to make its digital debut on May 26 on Disney Plus Hotstar . Furthermore, makers might treat audiences with an extended version of the film compared to the theatrical release. However, an official announcement regarding this is still pending.

During an interview, the lead actor described the plot and said , “This is the story of a man who has to spend time in the desert for 3.5 years, and in the final stages of Najeeb’s desert life, he started to move away from human existence. It’s now tough for him to speak to humans. He can’t even phrase lines with multiple words as he adapted to more animals (Goats) than humans now.”  Additionally, Prithviraj lost around 31 kgs for the role of Najeeb. He fasted for up to 72 hours and only drank water and black coffee.

As of now, eager viewers have to wait until the official announcement. It will remain to be seen when the platform announces its digital release. Stay tuned for more updates related to Aadujeevitham.

The post Aadujeevitham Tentative OTT Release Date Confirmed appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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